Creative Industries in London

Working Paper 70

The creative industries in London Lara Togni October 2015

The creative industries in London Working Paper 70

copyright Greater London Authority October 2015 Published by Greater London Authority City Hall The Queens Walk London SE1 2AA www.london.gov.uk Tel 020 7983 4922 Minicom 020 7983 4000 ISBN 978-1-84781-609-2 Cover photograph Š Hans Haacke For more information about this publication, please contact: GLA Economics Tel 020 7983 4922 Email glaeconomics@london.gov.uk GLA Economics provides expert advice and analysis on London’s economy and the economic issues facing the capital. Data and analysis from GLA Economics form a basis for the policy and investment decisions facing the Mayor of London and the GLA group. GLA Economics uses a wide range of information and data sourced from third party suppliers within its analysis and reports. GLA Economics cannot be held responsible for the accuracy or timeliness of this information and data. The GLA will not be liable for any losses suffered or liabilities incurred by a party as a result of that party relying in any way on the information contained in this report.

The creative industries in London Working Paper 70

Contents Executive summary ...................................................................................................................... 2 Introduction ................................................................................................................................ 3 1 Definitions ................................................................................................................................ 4 2 GVA of the creative industries in London ................................................................................. 7 3. Employment in the creative industries in London .................................................................. 11 4. Productivity of the creative industries in London: GVA per job ............................................. 31 5. The geography of the creative industries in London .............................................................. 34 6. The impact of the creative industries on the wider economy ................................................. 49 Conclusion ................................................................................................................................. 57 References................................................................................................................................. 58 Appendix A: Calculations for GVA and GVA per workforce job in the creative industries in London ...................................................................................................................................... 60

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Executive summary ‘London is one of the great cultural capitals of the world. It is not just famous for its museums, galleries, heritage and monuments but also for the dynamism and diversity of its commercial creative industries: the artists, businesses, entrepreneurs, writers, venue owners, festival organisers and retailers who make the city such an economically successful and exciting place to live.’ 1. The aim of this report is to provide evidence of the value of the creative industries in London, and the impact that they have on London’s economy. The report follows on from previous work 2 which highlighted the importance of the creative industries in terms of employment and output as well as looking at the spatial incidence of the creative industries across London. This report provides our latest understanding on all these issues.

The creative industries continue to represent a significant part of London’s economy as well as the creative industries for the UK as a whole. In 2012, output (measured as Gross Value Added (GVA)) of the creative industries in London was estimated at £34.6 billion, accounting for just under half (47.6 per cent) of the UK total (£72.7 billion); the creative industries group contributed 10.7 per cent of total GVA in London. Over the post-recessionary period (2009-2012), the creative industries showed relatively higher growth than London’s economy as a whole.

London’s creative industries are more productive than the average for London’s economy as a whole. The productivity of the creative industries in London (estimated at £71,100 on a GVA per workforce job basis), was 25 per cent higher than the average across all sectors of the London economy (estimated at £56,700 in 2012). London’s creative industries are also more productive than the average for creative industries across the UK as a whole.

Organisations operating in the creative economy are important employers in London. In 2014, there were 795,800 jobs in the creative economy in London, equivalent to 16.3 per cent of total jobs in the capital (compared to 7.4 per cent of the total number of jobs in the Rest of the UK).

In line with its higher productivity, workers in London’s creative economy tend to be paid more than the average across all sectors of London’s economy. In London the median hourly pay in the creative economy in 2014 was £18.80, which compares to a median hourly pay of £15.26 in London’s ‘non-creative’ economy.

These results provide evidence of the direct role that the creative economy plays in London’s wider economy. Further, the concentration of creative industries workplaces around certain areas in London suggests that clustering and agglomeration is likely to be at play. This suggests that the creative industries could have beneficial effects on the wider economy and, more specifically, on other sectors of London’s economy, through two main mechanisms. First, agglomeration effects can potentially boost productivity both within and across sectors. Second, spill-over effects can lead to a more tightly-linked supply chain, with potential effects on employment and wages, as well as positive knock-on effects to other industries (the tourism industry in particular).

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Cultural Metropolis 2014 See: Current Issues Note 33: London’s Creative Industries 2011 update, October 2011 (http://www.london.gov.uk/priorities/business-economy/publications/gla-economics/current-issues-note-33-londonscreative-industries-2011-update) and Working Paper 40: London’s Creative Workforce (2010 update), February 2010 (http://www.london.gov.uk/priorities/business-economy/publications/working-paper-40-londons-creative-workforce-2010update) for instance.

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Introduction The creative industries are an important sector of the London economy which contributes to and strengthens London’s competitiveness in relation to other global cities.

This paper analyses the value of the creative industries in London, and briefly touches upon the impact they might have on the wider economy. The novelty of this work (as compared to others looking at the country as a whole 3) lies in the focus on London, with estimates produced for the capital, and then compared to those for the Rest of the UK where possible. The paper assesses output and employment, as measures of productivity of the sector; as well as the sector’s spatial distribution across London, to understand whether there is evidence of clustering and agglomeration effects.

This analysis adopts the definition of creative industries and creative economy developed by the Department for Culture, Media & Sport (DCMS), and uses various official statistics available from the Office for National Statistics.

The first chapter (“Definitions”) clarifies the definitions of creative industries, creative economy, and creative occupations. It concludes with a brief description of the data sources which are used in the different chapters of this paper.

Chapter 2 provides an analysis of the output of the creative industries in London (given by GVA), derived by extending a methodology developed by GLA Economics in Working Paper 63 (2015) 4; with estimates by creative industry sub-groups also provided.

Chapter 3 discusses the labour market characteristics of the workforce in the creative economy and in the creative industries in London. After providing the general context for London (e.g. trends in employment and pay in the industries), a comparison of trends in the capital versus those in the rest of the country for both the creative industries and the creative economy, and the socio-economic characteristics of the workforce (e.g. gender, ethnicity, age group) in these industries are explored.

Chapter 4 follows with an analysis of GVA per workforce job of the creative industries in London in 2012, as proxy of the productivity of the sector, based upon the data on GVA, employment, and wages provided in the first three sections of the report.

Chapter 5 presents the spatial distribution of the creative industries in London. By means of visual representation through maps, the distribution of creative industry employees across London are presented, together with the distribution of the workplaces of those employees. A breakdown by creative industries sub-group is also taken into account.

Finally, Chapter 6 concludes by discussing the main findings from the available literature around the effects that the creative industries might have on the wider economy, with reference, in particular, to the impact on the tourism industry. The section also includes a short account of the effects that the industry might have on other, less tangible or subjective aspects, such as Londoners’ well-being and cultural diversity.

3 4

See, among others, DCMS (2015) and Nesta (2014, 2015).

GLA Economics (2015). GVA per workforce job in London and the UK, Working Paper n.63, February 2015.

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The creative industries in London Working Paper 70

1 Definitions The analysis presented in this note adopts the definitions of the creative economy and creative industries developed by the Department for Culture, Media & Sport (DCMS). Their approach is followed in order to ensure consistency and comparability of estimates (with a few exceptions, such as in the estimation of the output of the sector – please refer to Chapter 2 and Appendix A for further information) of the number of jobs and the industry sectors people work in.

Full details regarding the methodology developed by DCMS are available at Annex A and B of the latest DCMS release (2015) 5.

As outlined in the Government’s 2001 Creative Industries Mapping Document, the creative industries can be defined as follows: “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property” (DCMS, 2001) Starting from this definition, DCMS developed a methodology with the final aim of selecting and isolating those sectors and occupations which, according to the official industry and occupation codes6, could best capture the sectors and the professions operating in the industry 7. This methodology was first adopted in their statistical release in 2014, and is based on the assumption that “having high levels of “creative intensity” – that is, the proportion of the workforce in creative occupations – separates Creative Industries from other industries” (Bakshi et al, 2013).

For more details about the methodology used to derive a commonly agreed definition of creative industries and an empirical estimate of their impact on the economy, it is worth referring to the original DCMS document and its annexes 8; these are summarised in sections 1.1 and 1.2.

The main focus of this research is on the creative industries in London. Although DCMS do provide regional analysis, they do not go into the detail of breaking down employment by region, by socio-economic characteristics or economic status, to name a few. Moreover, spatial analysis down to small geographical boundaries is not provided, and estimates of the GVA of the creative industries by region are not analysed.

1.1 Creative economy The Creative Economy (Figure 1) encompasses people with creative occupations working in the creative industries, as well as workers with creative occupations working in any other industry, and also people in a non-creative job working in a creative industry.

5

This is available to download here.

Throughout this analysis, the Office for National Statistics (ONS) Standard Industrial Classification 2007 (SIC07) and Standard Occupational Classification 2010 (SOC10) are adopted. For more information, see here.

7 Please be aware that other institutions and research centres are currently suggesting a revision of these classifications to be “updated and placed on a more rigorous footing” (Nesta, 2014). For instance, see the work that NESTA have been doing on this, which is available to download here.

8 It is suggested to look especially at Annexes A and B of DCMS “Creative Industries Economic Estimates” published in January 2015, and available to download here. The full list of occupations and industries the creative industries and creative economies are composed of is reported.

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For example, the creative economy includes all of the following: • the contribution of an accountant working for a museum – a non-creative job in a creative industries sub-group; • the contribution of a designer working for a food supplier – a creative job in a non-creative industries sub-group; • the contribution of a radio presenter working for a local radio station – a creative job in a creative industries sub-group.

Figure 1: Definition of Creative Economy and Creative Industries according to DCMS definition

1.2 Creative industries The creative industries (Figure 1) represent a sub-set of the creative economy, and they encompass all people working in the industry, independently of whether they have a creative occupation or not.

Using the examples provided earlier, the creative industries include the following: • the contribution of an accountant working for a museum – a non-creative job in a creative industries sub-group;

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• the contribution of a radio presenter working for a local radio station – a creative job in a creative industries sub-group.

Data sources The analysis presented in this paper is based on official statistics released by the Office for National Statistics (ONS). More details about data sources and methodologies are provided in each single chapter. However, a summary of data sources used for the different levels of analyses is reported below.

• Gross Value Added (GVA) and GVA per workforce job: ONS National and Regional Accounts; as well as labour market data (including Business Register and Employment Survey, and Annual Population Survey) were used to develop a methodology to derive GVA and GVA per workforce job for creative industry groups; based upon GLA Economics research in Working Paper 63.

• Employment: ONS Annual Population Survey (APS) re-weighted to the 2011 Census of the population and ONS Annual Survey of Hours and Earnings (ASHE) – 2009-2014; • Mapping: ONS Inter-Departmental Business Register (IDBR) – 2009-2014.

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2 GVA of the creative industries in London The aim of this section is to present GLA Economics’ estimates of Gross Value Added (GVA) of the creative industries in London for 2012, as well as its performance over time (2009-2012).

Generally speaking, GVA measures the contribution to the economy of each individual producer, industry or sector. It represents the value added generated from activity in the economy.

Therefore, it is an essential measure to be looked at when assessing the impact and the value of any industry of the economy.

More details about the methodology developed by GLA Economics to estimate the contribution of the creative industries to the economy as a whole in terms of GVA are available in Appendix A, and further details are provided in Working Paper 63 (GLA Economics, 2015) . The methodology used to estimate the figures presented in this chapter is an extension of that initially developed by GLA Economics in Working Paper 63. The aim of this exercise was to assess the impact of the creative industries, according to the DCMS definition of creative industries groups (see, for instance, DCMS, 2015).

It is important to mention that data on GVA is drawn from the Regional Gross Value Added (Income Approach) publication by the ONS, whereas the methodology developed by GLA Economics to estimate GVA per workforce jobs (see later on in this document) uses data from National and Regional Accounts, as well as data specifically requested from the Office for National Statistics.

2.1 Main findings As shown in Table 1, the total GVA of the creative industries in London was £34.6 billion in 2012, accounting for just under half (47.6 per cent) of the UK total (£72.7 billion). The creative industries group accounted for 10.7 per cent of total GVA in London, which, in 2012, was £325.6 billion.

Table 1: Total GVA for the creative industries groups in London and in the UK, 2012 Creative Industries Group

London UK London Proportion Total GVA (£m) Total GVA (£m)

Advertising and Marketing

3,631

6,628

54.8%

Architecture

1,349

3,302

40.9%

Crafts

159

325

48.9%

Design: product, graphic and fashion design

947

2,271

41.7%

8,633

13,011

66.4%

10,777

30,195

35.7%

5,341

10,616

50.3%

601

2,214

27.1%

3,163

4,175

75.8%

34,601

72,737

47.6%

Film, TV, video, radio and photography IT, software and computer services Publishing Museums, galleries and libraries Music, performing and visual arts TOTAL Source: GLA Economics calculations

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Since 2009, GVA of creative industries in London has increased by 16.4 per cent, compared to an increase of 15.4 per cent for the London economy as a whole. The highest annual rate of growth was registered between 2010 and 2011 (a 7.8 per cent increase). More generally, the creative industries have shown relatively high growth in the last three years; when compared to London’s economy as a whole, they have experienced slightly faster growth. In fact, the average annual rate of growth for GVA of the creative industries in London, over the 2009 to 2012 period, was 5.2 per cent; this compares to an average annual growth rate of GVA for the London economy as a whole of 4.9 per cent.

Figure 2 shows GVA indexed against the value of GVA in London as of 2009 in both the creative industries and in the economy as a whole.

Table 2: Creative industries – annual growth rate and share of total GVA, London and the UK (2009-2012) London Total GVA (£m)

UK

Creative Creative industries annual annual Total Industries group as growth growth GVA groups proportion rate rate (£m) GVA (£m) of total GVA

2009 282,100

29,725

10.6%

1,345,046

Creative annual annual Industries growth growth groups rate rate GVA

Creative industries group as proportion of total GVA

63,325

4.7%

2010 295,658

4.8%

31,660

6.5%

10.7%

1,400,684

4.1%

65,914

4.1%

4.7%

2011 314,906

6.5%

34,140

7.8%

10.9%

1,441,598

2.9%

68,515

3.9%

4.8%

2012 325,613 3.4% 34,600 Source: GLA Economics calculations

1.3%

10.7%

1,475,948

2.4%

72,737

6.2%

4.9%

However, as a proportion of London GVA, the creative industries contribution remained stable between 2009 and 2012 as shown in Table 2.

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Figure 2: Changes in GVA for the London’s economy as a whole and for the creative industries groups in London, indexed to 2009=100 120

115

110

105

100

95

90 2009

2010 Total GVA

2011

2012

Creative Industries groups GVA

Source: GLA Economics calculations

2.2 Estimates by creative industries group Table 3 summarises the GVA of each of the creative industries groups in London over the 2009 to 2012 period.

The group which experienced the fastest growth between 2009 and 2012 was Advertising and Marketing (an increase of 53.3 per cent), followed by Crafts (a 39.5 per cent increase) and Architecture (a 36.3 per cent increase).

Table 3: Total GVA of the creative industries groups in London, 2009-2012 GVA per Workforce Job (ÂŁk)

2009

2010

2011

2012

2009-2012 growth

Advertising and Marketing

51.1

53.0

58.4

54.8

7.2%

Architecture

44.4

45.4

50.8

49.9

12.4%

Crafts

54.1

59.3

56.9

61.8

14.2%

Design: product, graphic and fashion design

42.8

37.5

39.8

42.4

-1.0%

Film, TV, video, radio and photography

78.9

82.4

86.1

84.4

6.9%

IT, software and computer services

90.6

95.9

89.1

93.9

3.6%

Publishing

75.1

84.1

90.2

89.7

19.4%

Museums, galleries and libraries

35.5

31.8

35.1

36.8

3.4%

Music, performing and visual arts

41.2

36.1

43.1

42.2

2.2%

TOTAL Source: GLA Economics calculations

67.7

68.8

72.0

71.1

5.1%

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The only two sectors which experienced negative growth in London were Museums, galleries and libraries (a fall of 8.2 per cent)9 and Publishing (a 1.0 per cent fall).

Among the creative industries groups (as shown in Figure 3), the IT, software and computer service group contributed 31.1 per cent of total creative industries GVA; followed by Film, TV, video, radio and photography (25.0 per cent), and Publishing (15.4 per cent). The same ranking applies to the country as a whole; however, the IT, software and computer services group represented a larger proportion (41.5 per cent) as compared to London. At the other end of the scale, Crafts is the group which contributed the least, with 0.5 per cent of the creative industries total contribution to London’s economy in 2012; followed by Museums, galleries and libraries (1.7 per cent), and Design (2.7 per cent).

Figure 3: Contribution of each creative industries group to the total GVA of the creative industries in London, 2012

9.1%

1.7%

10.5% 3.9%

0.5% 2.7%

15.4%

25.0%

31.1%

Advertising and Marketing

Architecture

Crafts

Design: product, graphic and fashion design Film, TV, video, radio and photography

IT, software and computer services

Publishing

Music, performing and visual arts

Museums, galleries and libraries

Source: GLA Economics calculations

9 Please note that the Museums, galleries and libraries group – and, to an extent, the Music, performing and visual arts group as well, is to be considered a peculiar group within the creative industries sector, given that most of these establishments do not charge for entry or for providing their services/products. Therefore, it is difficult to compare the contribution of this group with the others in the creative industry sector.

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3. Employment in the creative industries in London The aim of this chapter is to discuss the labour market characteristics of the workforce in the Creative Economy (and in the Creative Industries) in London. After providing the general context for London (e.g. trends in employment and pay in the industries), and a comparison of trends in the capital versus those in the Rest of the country for both the creative industries and the creative economy, the socio-economic characteristics of the workforce (e.g. gender, ethnicity, age group) in these industries will be explored, in order to understand whether there are any common patterns to be investigated further.

As already mentioned in Chapter 1 of this note, this analysis uses the approach developed by DCMS to define the boundaries of the creative economy, according to the jobs that people do; and the industry sectors they work in 10. As stated, broadly speaking, the creative economy consists of three main groups, the first two of which make up the creative industries: 1) Job and industry are both creative; 2) Industry is creative but job is not creative (or unknown); 3) Job is creative but industry is not creative (or unknown).

The analysis presented in this chapter has been carried out using two main data sources, both of which are Office for National Statistics (ONS) official statistics, namely the Annual Population Survey (APS) for the years 2009 to 2014 (re-weighted to the 2011 Census of the population); and the Annual Survey of Hours and Earnings (ASHE), for the years 2011 to 2014 for the creative economy; and for the years 2008 to 2014 for the creative industries 11.

Following the DCMS definition, and according to the “Creative Trident� as defined by Nesta (2008), Figure 4 reports the headline estimates for employment in London in 2014.

10

For more details, please see Annex A and Annex B of the DCMS publication, available here.

Please note that the three main creative economy groups and their sub-groups are defined using the Standard Industrial Classification 2007 (SIC07), which is available in the Annual Population Survey (APS) from 2009; as well as the Standard Occupational Classification 2010 (SOC10), which is available from 2011. SIC07 is used to define whether the industry is creative, while SOC10 defines whether the job is creative or not. Therefore, the analysis of the creative industries can be provided from 2009 onwards, but the analysis of the creative economy can only be provided from 2011 onwards, because it is based on SOC10 as well as SIC07.

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Figure 4: Employment in the creative economy in London (thousand jobs), 2014

Source: ONS Annual Population Survey, 2014; figures rounded to the nearest thousand.

In 2014, there were 795,800 jobs in the creative economy in London, or 16.3 per cent of total jobs in the capital. This compares to 1.96 million jobs in the creative economy in the rest of the UK, which is equivalent to 7.4 per cent of the total number of jobs in the rest of the UK. With regard to the creative industries (which includes both creative and not creative jobs in the creative industries), there were 575,300 jobs in London in 2014 (or 11.8 per cent of total jobs in London). In the rest of the UK the number goes up to about 1.23 million jobs, but the share of total number of jobs was lower than in London, at 4.6 per cent in 2014.

Figure 4 provides a graphic representation of the detailed breakdown of the figures mentioned above. In particular: • the sum of all the estimates reported above provides an estimate for jobs in the creative economy (= 332k + 244k + 220k = 796k); • the sum of non-creative jobs in the creative industries to creative jobs in the creative industries provides an estimate of the total number of jobs in the creative industries (= 244k + 332k = 575k); • the sum of creative jobs in the creative industries to the creative jobs in non-creative industries provides an estimate of the number of jobs relates to “creative occupations” (= 332k + 220k = 552k).

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Table 4 summarises the estimates for the creative industries and the creative economy over the 2011-2014 time period in London and in the rest of the UK. Table 4: Jobs in the creative industries and in the creative economy in London and in the Rest of the UK, 2011-2014 2011 London Job and industry are both creative Industry creative but job not creative or unknown Job creative but industry not creative or unknown Industry and job not creative or unknown

Sub-total: jobs in creative industries Sub-total: jobs in the creative economy Total

Sub-total: creative industries Sub-total: creative economy

2013

2014

2011

2012

(number of jobs)

2013

2014

(%)

296,200

283,800

290,700

331,700

6.7

6.2

6.2

6.8

201,200

229,600

238,900

243,700

4.5

5.0

5.1

5.0

192,100

197,300

221,100

220,500

4.3

4.3

4.7

4.5

3,758,600

3,856,800

3,930,000

4,076,700

84.5

84.4

84.0

83.7

497,400

513,400

529,600

575,300

11.2

11.2

11.3

11.8

689,500

710,700

750,600

795,800

15.5

15.6

16.0

16.3

4,448,100

4,567,500

4,680,700

4,872,500

Rest of the UK Job and industry are both creative Industry creative but job not creative or unknown Job creative but industry not creative or unknown Industry and job not creative or unknown

2012

(number of jobs)

(%)

527,900

606,200

599,300

637,600

2.1

2.4

2.3

2.4

536,000

571,600

584,100

595,000

2.1

2.2

2.2

2.2

668,200

669,300

688,400

725,200

2.6

2.6

2.6

2.7

23,943,600 23,919,300 24,205,900 24,577,000 93.3

92.8

92.8

92.6

1,063,900 1,177,700 1,183,400 1,232,700 4.1

4.6

4.5

4.6

1,732,100 1,847,000 1,871,800 1,957,900 6.7

7.2

7.2

7.4

Total 25,675,600 25,766,300 26,077,700 26,534,900 Sources: ONS Annual Population Survey, 2011 to 2014; figures rounded to the nearest hundred.

The following paragraphs analyse and break down these estimates in more detail.

3.1 Overview of employment in London This section provides estimates of employment in the creative industries and the creative economy in London, as compared to the rest of the UK. It provides an overview of employment by sub-groups of the creative industries and sub-groups of the creative economy. Trends in pay in the industries will also be considered.

As shown in Table 4, the number of jobs in the creative economy in London increased by just over a hundred thousand (106,300) over the period 2011 to 2014 to 795,800, an increase of 15.4 per cent in the three years to 2014.

In terms of share of jobs in the economy as a whole, it is equivalent to 0.8 percentage points increase since 2011. Nonetheless, creative jobs represented 16.3 per cent of total jobs in London in 2014.

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The creative economy encompasses all jobs, whether they are in the creative industries or not, and whether they are purely “creative” jobs or “not creative” jobs. Although later on in this chapter employment in the creative economy will be further analysed, it is worth breaking this down to have a look at employment in the creative industries only. By doing this, jobs in the creative industries groups, as defined by DCMS, will only be considered, allowing us to have a better look at employment trends in the industry (and ignoring any other “creative” jobs which might be in other, non-creative sectors of the economy).

As reported in Table 4, there were 575,300 jobs in the creative industries in London in 2014, or 11.8 per cent of the total number of jobs in London. In the rest of the UK, this share was 7.2 percentage points lower than in London at 4.6 per cent. Clearly, these figures suggest London plays a dominant role in the creative industries as compared to the rest of the UK. Figure 5 reports the change in the number of jobs recorded in the creative industries over the period 2009 to 2014. Estimates of growth are indexed to 2009, which is used as a baseline to compare change with.

Figure 5: Change in the Creative industries employment, London and the Rest of the UK, 2009-2014 – Index 2009 = 100 120

115

110

105

100

95

90

85 2009

2010

London - creative industries

2011 Rest of the UK - creative industries

2012 London - total jobs

2013

2014 Rest of the UK - total jobs

Source: GLA Economics calculations based on ONS Annual Population Survey (APS), 2009-2014

As can be seen, after a period of negative, or weak, growth, from 2011 the number of jobs in the creative industries in London started to pick up.

Furthermore, as shown in Figure 6, out of all jobs in the creative economy in London, 28.5 per cent (226,500) were taken by self-employed workers in 2014, as compared to 15.5 per cent (630,300) of workers in the non-creative economy.

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Figure 6: Jobs in the creative economy, self-employed and employee jobs, London, 2014 Creative economy

Non-creative economy 15%

28%

72% 85%

employee

self employed

employee

self employed

Source: ONS Annual Population Survey (APS), 2014

In order to have a better understanding of these trends, Table 5 summarises the total number of jobs in the creative industries for the years 2009 to 2014, for London and for the rest of the UK, broken down by creative industry group.

Table 5: Jobs in the creative industries by creative industry sub-group, London and the Rest of the UK, 2009 – 2014 LONDON Advertising & marketing Architecture Crafts Design: product, graphic & fashion design Film, TV, video, radio & photography IT, software & computer services Publishing Museums, galleries & libraries Music, performing & visual arts TOTAL

2009 69,300 24,100 900 31,200 89,600 101,700 68,200 31,400 65,900 482,200

2010 59,600 34,100 900 32,000 75,500 95,900 65,300 26,100 77,100 466,600

2011 69,700 29,300 900 32,100 83,900 111,900 74,400 29,400 68,300 469,600

2012 69,100 25,400 1,000 31,700 101,500 126,200 69,100 30,200 69,700 492,700

2013 73,200 26,500 1,000 38,100 98,600 139,200 72,200 31,000 62,400 510,100

2014 84,300 26,800 1,000 41,200 96,600 138,100 71,500 32,300 92,800 551,400

REST OF THE UK 2009 2010 2011 2012 2013 2014 Advertising & marketing 82,100 82,300 78,700 75,300 81,700 82,300 Architecture 71,400 63,500 64,600 63,800 67,300 74,100 Crafts 5,200 5,700 7,400 6,000 6,300 5,700 Design: product, graphic & fashion design 76,000 78,700 69,700 85,000 85,500 94,700 Film, TV, video, radio & photography 96,800 114,400 126,400 138,700 133,800 131,300 IT, software & computer services 363,500 353,000 371,300 431,500 434,700 468,800 Publishing 133,700 132,300 136,400 154,100 125,800 121,800 Museums, galleries & libraries 71,200 68,200 64,600 66,300 67,000 62,500 Music, performing & visual arts 151,400 156,700 144,900 157,100 181,300 191,500 TOTAL 1,051,200 1,054,900 1,063,900 1,177,700 1,183,400 1,232,700 Source: ONS Annual Population Survey (APS), 2009-2014; data is rounded to the nearest hundred.

As shown in Figure 7, in 2014, the biggest share of jobs within the creative industries was taken by the IT, Software and Computer services sub-group with 23.6 per cent of the total number of jobs in the creative industries in London. Film, TV, video, radio & photography (16.5 per cent); Music, performing and visual arts (15.9 per cent), and Advertising & Marketing (14.4 per cent) follow.

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In the rest of the UK (Figure 7), the IT, software & computer services group accounted for a bigger share (38.0 per cent) as compared to London (14.4 percentage points higher); whereas Film, TV video, radio & photography (10.7 per cent); Music, performing & visual arts (15.5 per cent), and Advertising & Marketing (6.7 per cent) all had a smaller share than in London.

Figure 7: Number of jobs by creative industries sub-groups as share of total number of jobs in the creative industries, London and the Rest of the UK, 2014 London 15.9%

Rest of the UK 6.7%

14.4%

15.5% 4.6% 0.2%

5.5%

6.0%

0.5% 7.7%

5.1%

7.1%

9.9%

12.2%

10.7%

16.5% 23.6%

38.0%

Advertising & marketing

Architecture

Advertising & marketing

Architecture

Crafts

Design: product, graphic & fashion design

Crafts

Design: product, graphic & fashion design

Film, TV, video, radio & photography

IT, software & computer services

Film, TV, video, radio & photography

IT, software & computer services

Publishing

Museums, galleries & libraries

Publishing

Museums, galleries & libraries

Music, performing & visual arts

Music, performing & visual arts

Source: ONS Annual Population Survey (APS), 2014

In terms of changes in the shares in employment overtime, there hasn’t been any significant shift among sub-groups in London or in the rest of the UK. Table 6 summarises this information for all the sub-groups of the creative industries.

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Table 6: Number of jobs by creative industries sub-groups as share of total number of jobs in the creative industries, London and the Rest of the UK, 2009-2014 LONDON Advertising & marketing Architecture Crafts Design: product, graphic & fashion design Film, TV, video, radio & photography IT, software & computer services Publishing Museums, galleries & libraries Music, performing & visual arts TOTAL

2009 14.4% 5.0% 0.2% 6.5% 18.6% 21.1% 14.1% 6.5% 13.7% 100.0%

2010 12.8% 7.3% 0.2% 6.9% 16.2% 20.5% 14.0% 5.6% 16.5% 100.0%

2011 14.8% 6.2% 0.2% 6.8% 17.9% 23.8% 15.8% 6.3% 14.5% 100.0%

2012 14.0% 5.2% 0.2% 6.4% 20.6% 25.6% 14.0% 6.1% 14.2% 100.0%

2013 14.3% 5.2% 0.2% 7.5% 19.3% 27.3% 14.1% 6.1% 12.2% 100.0%

2014 15.3% 4.9% 0.2% 7.5% 17.5% 25.0% 13.0% 5.9% 16.8% 100.0%

REST OF THE UK 2009 Advertising & marketing 7.8% Architecture 6.8% Crafts 0.5% Design: product, graphic & fashion design 7.2% Film, TV, video, radio & photography 9.2% IT, software & computer services 34.6% Publishing 12.7% Museums, galleries & libraries 6.8% Music, performing & visual arts 14.4% TOTAL 100.0% Source: ONS Annual Population Survey (APS), 2009-2014

2010 7.8% 6.0% 0.5% 7.5% 10.8% 33.5% 12.5% 6.5% 14.9% 100.0%

2011 7.4% 6.1% 0.7% 6.5% 11.9% 34.9% 12.8% 6.1% 13.6% 100.0%

2012 6.4% 5.4% 0.5% 7.2% 11.8% 36.6% 13.1% 5.6% 13.3% 100.0%

2013 6.9% 5.7% 0.5% 7.2% 11.3% 36.7% 10.6% 5.7% 15.3% 100.0%

2014 6.7% 6.0% 0.5% 7.7% 10.7% 38.0% 9.9% 5.1% 15.5% 100.0%

3.1.1 Pay in the Creative Economy The Annual Survey of Hours and Earnings (ASHE) is the official source for information on pay by industry and by occupation. By adopting the same DCMS definition of creative industries, it is possible to look at pay in the creative industries and in the creative economy over time.

After a glance at the performance of pay over the years for both the creative industries and the creative economy, trends in (nominal) earnings by sub-group of the creative industries will be looked at; and trends in (nominal) earnings by occupation within the creative economy will also be presented 12.

The reason why creative industries sub-groups are considered in the context of the creative industries is related to the definition of creative industries itself; since the whole creative industries sector is to be considered, whether they are “creative” jobs or not. By contrast, it is arguably more relevant to look at the creative economy in order to analyse occupational trends in the industries, since people in “creative” occupations might well be applying their skills in other sectors of the economy.

In London, median hourly pay 13 in the creative economy in 2014 was 18.80, which compares to a median hourly pay of £15.26 in the non-creative economy (as shown in Figure 8). According to these estimates, median pay per hour in the creative industries in 2014 was 18.8 per cent 12 13

Throughout the section, nominal wages will be reported (rather than real wages).

Pay is defined as gross pay per hour excluding overtime.

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higher than in the other sectors of the economy taken altogether. Since 2011, median pay in the creative economy decreased by 1.8 per cent; however, this change was not statistically significant.

Figure 8: Median hourly (nominal) pay in the creative economy, and creative industries (2011-2014); non-creative economy, and non-creative industries (20082014), London £20 £19 £18 £17 £16 £15 £14 £13 £12 £11 £10 2008

2009 Creative economy

2010 Non-creative economy

2011

2012 Creative industries

2013

2014

Non-creative industries

Source: ONS Annual Survey of Hours and Earnings (ASHE), 2008-2014 Note: - Nominal wages - From 2013, the ASHE has been re-weighted to the 2011 Census; - the figures are for employees aged 16 and over on adult rates of pay, whose pay for the survey pay-period was not affected by absence; - pay is defined as gross pay per hour excluding overtime.

Over the same period, median hourly pay in the creative industries was £17.89, or 15.4 per cent higher than median pay per hour in the non-creative industries. Median pay in the creative industries has decreased by the same 1.8 per cent registered for the creative economy since 2011, but remained unchanged compared to 2008 14, as shown in Table 7.

14

Please note that the analysis based on the creative economy can only be provided from 2011 onwards because it relies on SOC10 as well as SIC07 (for more details, see footnote 2).

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Table 7: Median hourly (nominal) pay in the creative economy (2011-2014) and in the creative industries (2008-2014), London 2008

2009

2010

2011

2012

2013

2014

Median pay per hour (£) Creative economy 19.15 18.83 19.17 18.80 Non-creative economy 15.09 15.30 15.30 15.26 Creative industries 17.89 18.08 18.22 18.40 17.82 18.18 17.89 Non-creative industries 14.39 15.00 15.27 15.34 15.51 15.58 15.50 Source: ONS Annual Survey of Hours and Earnings (ASHE), 2008-2014 Note: - Nominal wages - From 2013, the ASHE has been re-weighted to the 2011 Census; - the figures are for employees aged 16 and over on adult rates of pay, whose pay for the survey pay-period was not affected by absence; - pay is defined as gross pay per hour excluding overtime.

If the creative industries alone are to be considered, it is possible to break these down further to the creative industry groups, as shown in Table 8.

In 2014, the highest paid group in the creative industries was Film, TV, video, radio & photography (£19.17/hour), followed by IT, Software & Computer services (£19.03/hour), and Advertising & Marketing (£18.42/hour). However, if changes between 2008 and 2014 are considered, the only groups which saw an increase in median hourly pay were Museums, galleries & libraries together with Music, performing & visual arts (+23.1 per cent), and Crafts together with Design (+4.3 per cent)15.

15

Please note that the following sub-sectors have grouped up because the sample sizes were too small to allow a reliable analysis of the estimates: Craft with Design: product, graphic & fashion design; as well as Museums, galleries & libraries with Music, performing & visual arts.

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Table 8: Median hourly (nominal) pay in the creative industries by creative industry group, London, 2008-2014 2008

2009

2010

2011

2012

2013

2014

Change 2008-2014

Median pay per hour (£) Advertising & marketing

19.15

18.81

19.16

17.95

19.06

17.59

18.42

-3.8%

Architecture

16.74

16.36

16.44

17.20

16.49

16.86

16.41

-2.0%

14.52

16.76

14.89

14.37

14.82

14.13

15.15

4.3%

19.3

19.66

19.43

18.97

17.71

19.16

19.17

-0.7%

20.01

21.56

20.49

21.50

20.03

20.97

19.03

-4.9%

18.72

18.24

18.77

19.03

19.26

19.55

18.22

-2.7%

Crafts; Design: product, graphic & fashion design Film, TV, video, radio & photography IT, software & computer services Publishing

Museums, galleries & libraries; 12.47 12.66 13.54 13.56 13.82 13.56 15.35 23.1% Music, performing & visual arts Source: ONS Annual Survey of Hours and Earnings (ASHE), 2008-2014 Note: - Nominal wages - From 2013, the ASHE has been re-weighted to the 2011 Census; - the figures are for employees aged 16 and over on adult rates of pay, whose pay for the survey pay-period was not affected by absence; - pay is defined as gross pay per hour excluding overtime.

Table 9 provides a breakdown of median hourly pay in the creative economy by occupation. This provides an indication of where the same types of occupations are positioned in the creative economy in comparison with the non-creative economy 16.

Not surprisingly, Managers, Directors and Senior Officials had the highest median weekly pay in 2014 (at £32.89/hour). This compares to the lowest paid occupation being Process, Plant and Machine Operatives and Elementary occupations 17 (at £8.77/hour). The ratio of the highest to the lowest paid occupations was therefore equal to about 4:1; however, this is not far from the ratio registered in the non-creative economy, in which the ratio was around 3:1.

While pay for people in the lowest paid occupations in London is not significantly different in the creative economy and in the non-creative economy; Managers, Directors and Senior Officials are paid more in the creative economy than in the non-creative economy (£32.89/hour versus £26.94/hour respectively).

16

The ONS SOC10 classification of occupations is used here. For more information please see here.

Please note that the two occupations group had to be grouped up because of issues related to the sample size being too small to be able to produce accurate estimates of pay in those occupations group taken alone.

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Table 9: Median hourly (nominal) pay in the creative economy and in the non-creative economy by SOC occupation code, London, 2011-2014 2011

2012

2013

2014

Change 2011-2014

Median pay per hour (ÂŁ)

Creative economy 1 'Managers, Directors And Senior Officials'

33.42

33.73

33.97

32.89

-1.6%

2 'Professional Occupations'

20.36

20.25

20.64

20.37

0.0%

3 'Associate Professional And Technical Occupations'

15.88

15.50

15.84

15.86

-0.1%

4 'Administrative And Secretarial Occupations'

12.48

12.55

12.64

12.95

3.8%

5 'Skilled Trades Occupations'

13.12

11.71

13.02

12.93

-1.4%

10.94

10.19

11.21

10.64

-2.7%

8.34

8.38

8.11

8.77

5.2%

2011

2012

2013

2014

Change 2011-2014

6 'Caring, Leisure And Other Service Occupations'; 7 'Sales And Customer Service Occupations' 8 'Process, Plant And Machine Operatives'; 9 'Elementary Occupations'

Median pay per hour (ÂŁ)

Non-creative economy 1 'Managers, Directors And Senior Officials'

26.49

27.08

26.39

26.94

1.7%

2 'Professional Occupations'

21.99

22.13

22.32

22.24

1.1%

3 'Associate Professional And Technical Occupations'

17.85

17.57

17.80

17.80

-0.3%

4 'Administrative And Secretarial Occupations'

12.85

12.88

12.85

12.85

0.0%

5 'Skilled Trades Occupations'

12.20

12.03

11.97

11.47

-6.0%

8.61

8.95

8.72

0.4%

8.20

8.27

8.36

2.8%

6 'Caring, Leisure And Other Service Occupations'; 7 'Sales And 8.68 Customer Service Occupations' 8 'Process, Plant And Machine Operatives'; 9 'Elementary 8.13 Occupations' Source: ONS Annual Survey of Hours and Earnings (ASHE), 2011-2014

Note: - Nominal wages - From 2013, the ASHE has been re-weighted to the 2011 Census; - the figures are for employees aged 16 and over on adult rates of pay, whose pay for the survey pay-period was not affected by absence; - pay is defined as gross pay per hour excluding overtime.

At the same time, the occupation which reported the fastest growth (a 5.2 per cent increase in median pay since 2011) was also the lowest paid occupation in the creative economy, namely the Process, Plant and Machine Operatives and Elementary Occupations. These occupations showed growth in the non-creative economy as well, but at a relatively slower pace (a 2.8 per cent increase). Interestingly, over the same period median hourly pay for Managers, Directors and Senior Officials working in the creative economy decreased by 1.6 per cent, whereas it increased by 1.7 per cent in the non-creative economy in London.

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3.2 Employment and socio-economic characteristics This section reports the estimates of employment in the creative industries and the creative economy by looking at a few socio-economic characteristics.

3.2.1 Employment by gender and employment pattern In December 2014 18 men accounted for 52.8 per cent of total jobs in London (relatively unchanged since 2011; at 52.7 per cent). Looking further back at the change between 2008 and 2014, the share of jobs taken by men decreased by 1.3 percentage points (from 54.1 per cent of the workforce in London).

3.2.1.1 Jobs by gender in the creative economy The creative economy in London employed a higher proportion of male workers (61.7 per cent) than the non-creative economy in 2014 (54.9 per cent). In fact, the gender gap in the creative economy was equal to 23.3 percentage points in 2014. This is true for every single year covered by this analysis (2011-2014).

Table 10 breaks these estimates down by looking at the gender split by occupation in London’s economy.

18

ONS Workforce Jobs series.

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Table 10: Jobs in the creative economy by gender and by occupational group, London, 2011-2014 19 % of 2011

2012

2013

2014 occupational

group, 2014 MALE 1 'Managers, Directors And Senior Officials'

72,100

76,800

90,700

81,400

68.1%

2 'Professional Occupations'

169,800 186,000 184,300

200,900

69.9%

3 'Associate Professional And Technical Occupations'

140,900 149,000 153,500

159,700

54.8%

4 'Administrative And Secretarial Occupations'

10,800

10,300

5,900

12,200

31.3%

5 'Skilled Trades Occupations'

16,400

14,000

17,900

20,800

85.2%

2,900

3,600

6,100

8,400

44.9%

9,300

11,300

5,000

6,500

46.4%

6 'Caring, Leisure And Other Service Occupations'; 7 'Sales And Customer Service Occupations' 8 'Process, Plant And Machine Operatives'; 9 'Elementary Occupations' Total - male

422,200 451,000 463,500 489,700

FEMALE 1 'Managers, Directors And Senior Officials'

33,500

35,200

37,500

38,200

31.9%

2 'Professional Occupations'

74,200

68,100

83,600

86,700

30.1%

123,100 118,000 118,200

131,500

45.2%

3 'Associate Professional And Technical Occupations' 4 'Administrative And Secretarial Occupations' 5 'Skilled Trades Occupations' 6 'Caring, Leisure And Other Service Occupations'; 7 'Sales And Customer Service Occupations' 8 'Process, Plant And Machine Operatives'; 9 'Elementary Occupations' Total - female

21,400

24,300

25,900

26,800

68.7%

6,100

3,400

5,100

3,600

14.8%

7,200

7,200

10,400

10,300

55.1%

1,800

2,800

5,600

7,500

53.6%

267,300 259,100 286,300 304,600

TOTAL - WORKFORCE 689,500 710,100 749,800 794,200 Source: ONS Annual Population Survey (APS), 2011-2014; data is rounded to the nearest thousand.

In 2014, Associate Professional and Technical Occupations were the most common occupation in the creative economy in London, with 291,200 jobs (or 36.7 per cent of the total number of jobs in the creative economy); followed by Professional Occupations (287,600 jobs, or 36.2 per cent), and then Managers, Directors and Senior Officials (119,600, or 15.1 per cent). After Administrative and Secretarial occupations, where women represented 68.7 per cent of the workforce, women were relatively well represented in the bottom two occupations (as share of total number of jobs in the creative economy), namely Caring, Leisure and Other Services occupations together with Sales and Customer Service Occupations (55.1 per cent); and Process, Plant and Machine Operatives occupations together with Elementary Occupations (53.6 per cent) 20. However, they were also well represented in the occupational category with the highest share of jobs in the creative economy (i.e. Associate Professional and Technical Occupations) with 45.2 per cent.

19 Please be reminded that the analysis based on the creative economy can only be provided from 2011 onwards because it relies on SOC10 as well as SIC07 (for more details, see footnote 2).

20 As in other cases mentioned above, these occupations were grouped together due to issues related to the sample size being too small to be able to produce accurate estimates of pay in those occupations group taken alone.

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3.2.1.2 Jobs by gender in the creative industries The gender split with regard to jobs in the creative industries followed a similar pattern to jobs in the creative economy, as shown in Table 11.

Table 11: Jobs in the creative economy and in the creative industries by gender, London, 2011-2014 Creative industries MALE FEMALE

2011 (number) 297,300 200,100

2011 2012 (%) (number) 59.8% 324,200 40.2% 189,100

2012 2013 (%) (number) 63.2% 325,500 36.8% 204,000

2013 2014 (%) (number) 61.5% 350,900 38.5% 224,400

2014 (%) 61.0% 39.0%

Creative 2011 2011 2012 2012 2013 2013 2014 economy (number) (%) (number) (%) (number) (%) (number) MALE 422,200 61.2% 451,400 63.5% 463,800 61.8% 490,700 FEMALE 267,300 38.8% 259,400 36.5% 286,800 38.2% 305,000 Source: ONS Annual Population Survey (APS), 2011-2014; data is rounded to the nearest thousand.

2014 (%) 61.7% 38.3%

As with the creative economy, the creative industries in London in 2014 (and in every year since 2011) employed a higher proportion (61.0 per cent) of men than London’s economy as a whole.

This proportion was slightly lower than the proportion of men represented in the wider creative economy.

3.2.1.3 Pay by gender and employment pattern According to the ONS Annual Population Survey (APS), 83.0 per cent of jobs in the creative economy in London were full-time jobs. This compares to 77.1 per cent of jobs in the noncreative economy in London; as shown in Table 12.

Table 12: Jobs in the creative economy and in the non-creative economy by economic pattern, London, 2014 Jobs in the creative economy in London

Other jobs in London (not in the creative economy)

(number of jobs) full time

660,000

Jobs in the creative economy in London

Other jobs in London (not in the creative economy)

% 3,140,100

83.0

part time 134,800 931,000 17.0 Source: ONS Annual Population Survey (APS), 2011-2014; data is rounded to the nearest thousand.

77.1 22.9

Furthermore, the Annual Survey of Hours and Earnings (ASHE) contains information on pay broken down by gender and employment pattern (i.e. part-time and full-time). Table 13 summarises this information for workers in the creative economy over the 2011-2014 period.

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Table 13: Median hourly pay in the creative economy by gender and by employment patterns, London, 2011-2014 Median pay per hour (£)

2011

2012

2013

2014

Male

21.16

20.58

20.79

20.44

Part-time

13.58

12.82

13.86

15.77

Full-time

21.35

21.20

21.08

20.68

16.77

16.62

17.03

16.87

Part-time

15.45

15.58

15.57

14.31

Full-time

17.06

16.77

17.29

17.38

Part-time (all)

14.95

15.05

15.52

14.88

Full-time (all)

19.42

19.19

19.65

19.19

All

19.15

18.83

19.17

18.80

Female

Source: ONS Annual Survey of Hours and Earnings (ASHE), 2011-2014 Note: - From 2013, the ASHE has been re-weighted to the 2011 Census; - the figures are for employees aged 16 and over on adult rates of pay, whose pay for the survey pay-period was not affected by absence; - pay is defined as gross pay per hour excluding overtime.

In 2014, median hourly pay for men (at £20.44) in the creative economy was 8.7 per cent higher than for all workers in the creative economy (£18.80); and 21.2 per cent higher than the median pay per hour for women employed in the creative economy (£16.87).

3.2.2 Employment by age group As shown in Figure 9, jobs in the creative industries tend to be taken by relatively young people, in the 25 to 44 age group in particular.

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Figure 9: Creative economy jobs by age group, London, 2011-2014 900000

800000

700000

600000

500000

400000

300000

200000

100000

0 2011

2012 Age 16-24

Age 25-34

2013 Age 35-44

Age 45-54

Age 55-64

2014 Age 65+

Source: ONS Annual Population Survey (APS), 2011-2014

35.4 per cent of jobs in the creative economy were taken by workers in the 25 to 34 age group, 28.0 per cent by those in the 35 to 44 age group, and 19.4 per cent by those in the 45-54 age group. These proportions are similar to those recorded in the non-creative economy (as shown in Table 14). Trends over time do not suggest any peculiarities are characterising the creative economy as compared to the non-creative economy.

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Table 14: Jobs in the creative economy and in the non-creative economy by age group, London, 2011-2014 Creative economy

2011

2012

2013

2014

2011

(number of jobs)

2012

2013

2014

%

Age 16-24

49,400

52,800

56,100

54,600

7.2

7.4

7.5

6.9

Age 25-34

237,700

243,800

262,800

281,600

34.5

34.3

35.0

35.4

Age 35-44

201,800

212,300

221,700

222,500

29.3

29.9

29.5

28.0

Age 45-54

127,200

130,000

138,300

154,100

18.4

18.3

18.4

19.4

Age 55-64

59,300

58,400

53,800

65,200

8.6

8.2

7.2

8.2

Age 65+

14,100

13,400

17,900

17,800

2.0

1.9

2.4

2.2

2011

2012

2013

2014

2011

2012

2013

2014

Non-creative economy

(number of jobs) Age 16-24 Age 25-34

361,500

359,500

365,400

% 389,900

9.6

9.3

9.3

9.6

1,091,000 1,136,200 1,153,600 1,208,600

29.0

29.5

29.4

29.6

Age 35-44

967,600

973,800

985,100

995,600

25.7

25.2

25.1

24.4

Age 45-54

826,700

837,700

857,300

895,600

22.0

21.7

21.8

22.0

Age 55-64

425,100

447,000

468,700

475,700

11.3

11.6

11.9

11.7

Age 65+ 86,600 102,700 100,000 111,300 2.3 2.7 2.5 Source: ONS Annual Population Survey (APS), 2011-2014, data is rounded to the nearest hundred.

2.7

3.2.3 Employment by ethnicity In 2014, the creative economy had a total of 637,400 jobs filled by those from the White ethnicity group, equivalent to 80.2 per cent of the total number of jobs in the creative economy. The number of jobs in the creative economy taken by people from the Black, Asian and Minority Ethnicity (BAME) groups, totalled 157,200 jobs, or 19.8 per cent of the total number of jobs in the creative economy.

Looking at the creative industries, BAME groups were slightly less represented compared to the creative economy, with a difference between the two of 1.4 percentage points (Table 15).

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Table 15: Jobs in the creative economy and in the creative industry by ethnicity, 20112014 Creative economy

2011

2012

2013

2014

2011

(number of jobs)

2012

2013

2014

%

WHITE

547,800

557,700

606,800

637,400

79.7%

78.6%

80.9%

80.2%

BAME

139,700

152,100

143,300

157,200

20.3%

21.4%

19.1%

19.8%

2011

2012

2013

2014

2011

2012

2013

2014

Creative industries

(number of jobs)

%

WHITE

399,700

406,000

431,400

468,800

80.6%

79.2%

81.5%

81.6%

BAME

96,300

106,800

98,000

105,500

19.4%

20.8%

18.5%

18.4%

2011

2012

2013

2014

Proportion of total white jobs that are 17.3% 17.2% 18.3% 18.5% in creative economy: Proportion of total BAME jobs that 10.9% 11.5% 10.5% 11.0% are in creative economy: Source: ONS Annual Population Survey (APS), 2011-2014; data is rounded to the nearest hundred.

Note: - BAME = Black, Asian and Minority Ethnicities; - Totals exclude a small number of jobs with non-response to the ethnicity question; this is the reasons why they may be different from totals reported in tables earlier on in this chapter.

Since 2011, the number of jobs filled by people from White ethnicity groups increased by 16.3 per cent in the creative economy compared to an increase of 12.5 per cent for the BAME groups. In the creative industries, jobs filled by people from White ethnicity groups increased slightly faster (17.3 per cent) than in the creative economy over the 2011-2014 period.

Finally, according to the ONS Annual Population Survey (APS), 31.2 per cent of jobs in the noncreative economy in London were taken by people from BAME groups in 2014; this compares to 19.8 per cent of jobs in London’s creative economy.

3.2.4 Employment by highest level of qualification This section looks at the distribution of jobs in the creative economy and in the creative industries by highest level of qualification of the workers filling those jobs in London. Given that historically London’s economy has a high concentration of workers with at least a degree qualification or higher (see, for example, GLA Economics employment projections, 2013), it would be expected for this to be the case for the creative economy as well. The estimates of jobs by occupation presented earlier in this chapter seem to confirm these expectations, given by the share of jobs taken by those in Associate Professional and Technical, Professional, and managerial occupations.

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Table 16: Jobs in the creative economy, non-creative economy and creative industries

by GLA highest qualification groups, London, 2011-2014 Creative economy

2011

2012

2013

2014

2011

(number of jobs)

2012

2013

2014

%

Higher degree

130,900

144,000

138,700

148,400

19.4

20.9

19.0

18.9

Ordinary degree or equivalent

356,000

365,600

392,500

419,000

52.9

53.0

53.8

53.5

Higher education

38,200

47,900

58,800

54,900

5.7

6.9

8.1

7.0

75,100

69,100

68,300

88,600

11.2

10.0

9.4

11.3

49,000

46,100

49,300

49,300

7.3

6.7

6.8

6.3

23,900

17,400

22,300

23,600

3.5

2.5

3.1

3.0

No qualification

9,600

14,100

12,400

8,800

1.4

2.0

1.7

1.1

Non-creative economy

2011

2012

2013

2014

2011

2012

2013

2014

GCE, A-level or equivalent GCSE grades A* C or equivalent Other qualifications

(number of jobs) Higher degree Ordinary degree or equivalent Higher education GCE, A-level or equivalent GCSE grades A* C or equivalent Other qualifications No qualification Creative industries

497,600

519,200

556,400

% 568,900

14.2

14.3

15.0

14.8

1,112,900 1,196,100 1,237,100 1,290,400

31.8

33.0

33.4

33.6

282,700

297,200

323,100

323,500

8.1

8.2

8.7

8.4

623,500

686,700

654,800

711,500

17.8

19.0

17.7

18.5

562,100

551,000

538,500

554,000

16.1

15.2

14.5

14.4

421,300

372,800

393,000

397,700

12.0

10.3

10.6

10.3

209,400

192,000

188,100

191,300

6.0

5.3

5.1

5.0

2011

2012

2013

2014

2011

2012

2013

2014

(number of jobs) Higher degree

%

93,400

99,500

91,100

105,200

19.0

19.6

17.4

18.4

Ordinary degree or equivalent

259,600

267,200

276,600

306,300

52.8

52.5

52.9

53.5

Higher education

27,000

32,800

40,500

39,700

5.5

6.5

7.8

6.9

53,800

53,600

54,300

65,200

10.9

10.5

10.4

11.4

31,300

35,100

34,900

30,700

6.4

6.9

6.7

5.4

19,500

12,100

16,300

19,300

4.0

2.4

3.1

3.4

7,000

8,600

9,000

6,500

1.4

1.7

1.7

1.1

GCE, A-level or equivalent GCSE grades A* C or equivalent Other qualifications No qualification

Source: ONS Annual Population Survey (APS), 2011-2014; data is rounded to the nearest hundred.

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As expected, the creative economy in London had a higher proportion of workers with either an ordinary degree or equivalent (53.5 per cent) or a higher degree (18.9 per cent) than the noncreative economy (33.6 per cent and 14.8 per cent respectively). In comparison with the creative industries, the shares of those with at least an ordinary degree are similar; which is shown in Table 16.

If the relative changes in the creative economy jobs are compared to 2011 (i.e. the number of jobs at each level of qualification is indexed to 100 in 2011), the move towards a more skilled workforce is confirmed, as shown in Figure 10.

Figure 10: Changes in the number of jobs in the creative economy by highest qualification type, London, 2011-2014 – Index 2011 = 100 160 150 140 130 120 110 100 90 80 70 60 2011

2012

2013

2014

Higher degree

Ordinary degree or equivalent

Higher education

GCE, A-level or equivalent

GCSE grades A* - C or equivalent

Other qualifications

No qualification

Creative economy

Source: ONS Annual Population Survey (APS), 2011-2014

Indeed, as shown in Figure 10, the number of jobs in the Creative economy, in the short term, is experiencing faster than average growth in the number of jobs for those with higher education; whereas those jobs requiring an ordinary degree or equivalent, or a higher degree follow a similar pattern as that of the creative economy as a whole. In 2014, jobs filled by workers with either an ordinary degree or a higher degree represented 71.6 per cent of the total number of jobs in the creative economy.

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4. Productivity of the creative industries in London: GVA per job The aim of this section is to report GLA Economics estimates of GVA per job of the creative industries in London in 2012, using a methodology developed by GLA Economics which incorporates data from the ONS National and Regional Accounts, as well as various labour market data sets. Further details of the methodology are available in GLA Economics Working Paper 63, and summarised in Appendix A of this paper.

GVA per job can be used as the best available proxy of the relative productivity of a sector (the creative industries in this instance) and the economy as a whole. Therefore, this section draws from the results reported in the GVA section as well as the employment section earlier on in this paper.

4.1 Main findings Table 17 shows that in the creative industries London GVA per workforce job was estimated at £71,100 in 2012. This compares to an equivalent figure in the country as a whole of £49,800; therefore, the creative industries contributed more to the economy, per job, in London than in the UK by 42.9 per cent.

Table 17: GVA per workforce job for the creative industries groups in London and in the UK, 2012 Creative Industries Group Advertising and Marketing Architecture Crafts Design: product, graphic and fashion design Film, TV, video, radio and photography IT, software and computer services Publishing Museums, galleries and libraries Music, performing and visual arts TOTAL Source: GLA Economics calculations

London (£k)

UK (£k)

Percentage Difference

54.8 49.9 61.8 42.4 84.4 93.9 89.7 36.8 42.2 71.1

43.0 46.7 41.3 29.8 67.0 62.0 57.9 30.1 19.5 49.8

27.5% 6.9% 49.7% 42.4% 26.0% 51.4% 54.8% 21.9% 115.9% 42.9%

Moreover, according to GLAE estimates, GVA per workforce job in 2012 in the creative industries was 25 per cent higher than the average across all sectors of the London economy (£71,100 versus £56,700).

However, if the annual growth rate of GVA per job in the creative industries groups is considered (as shown in Table 18) 21, after experiencing 4.6 per cent growth between 2010 and 2011, in the following year GVA per job in London saw a decrease of 1.2 per cent, as compared to a growth rate of 5.9 per cent in the country as a whole. Overall, between 2009 and 2012, GVA per job in the industry increased by 5.1 per cent in London, and in the UK by 14.7 per cent, although starting from a lower base.

21

Please note that the GVA per workforce job calculations are in nominal prices.

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Table 18: GVA per workforce job for the creative industries groups in London and in the UK and annual growth rate, 2009-2012 London

UK

GVA per job (£k) annual growth rate 2009 £67,688 2010 £68,824 1.7% 2011 £72,018 4.6% 2012 £71,126 -1.2% Source: GLA Economics calculations

GVA per job (£k) annual growth rate £43,417 £45,229 4.2% £46,998 3.9% £49,778 5.9%

It is also interesting to look at the comparison of growth in GVA per workforce job in London for the economy as a whole and for the creative industries only, as shown in Figure 11, where the values have been indexed to 2009 (as previously done in Figure 2).

Figure 11: Changes in GVA per workforce job for the London economy as a whole and for the creative industries groups in London, indexed to 2009=100 110

108

106

104

102

100

98

96

94 2009

2010 Tot GVA per workforce jobs

2011

2012

Creative Industries Groups GVA per workforce job

Source: GLA economics calculations

It is evident that the trend in growth (as reported in Section 2) is reversed when GVA per workforce job is considered. As opposed to trends in growth in GVA, the creative industries groups have been growing slower than London’s economy as a whole in terms of GVA per job. If GVA per job is interpreted as the best available proxy of the relative productivity of a sector (the creative industries in this instance) and the economy as a whole, it can be said that the creative industries groups, over the 2009-2012 period, have been relatively less productive than London’s economy as a whole. This, in spite of growing relatively faster than the UK economy as a whole when total GVA is taken as index for comparison.

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4.2 Estimates by creative industries group With regard to GVA per job (as shown in Table 19), the creative industries group which experienced fastest growth over the 2009-2012 period was Publishing (an increase of 19.4 per cent), followed by Crafts (14.2 per cent growth), and Architecture (12.4 per cent growth).

Table 19: GVA per workforce job of the creative industries group in London, 20092012 GVA per Workforce Job (ÂŁk)

2009

2010

2011

2012

Advertising and Marketing Architecture Crafts Design: product, graphic and fashion design Film, TV, video, radio and photography IT, software and computer services Publishing Museums, galleries and libraries Music, performing and visual arts TOTAL Source: GLA economics calculations

51.1 44.4 54.1 42.8 78.9 90.6 75.1 35.5 41.2 67.7

53.0 45.4 59.3 37.5 82.4 95.9 84.1 31.8 36.1 68.8

58.4 50.8 56.9 39.8 86.1 89.1 90.2 35.1 43.1 72.0

54.8 49.9 61.8 42.4 84.4 93.9 89.7 36.8 42.2 71.1

2009-2012 growth 7.2% 12.4% 14.2% -1.0% 6.9% 3.6% 19.4% 3.4% 2.2% 5.1%

The only group showing negative growth in GVA per workforce job was Design (-1.0 per cent), while Music, performing and visual arts (+2.2 per cent); Museum, galleries and libraries (+3.4 per cent), and IT, Software and Computer services (+3.6 per cent) experienced the slowest growth among the creative industries groups in London.

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5. The geography of the creative industries in London The aim of this section is to present the spatial distribution of the creative industries 22 in London 23. By means of visual representation through maps, the distribution of creative industries employees across London will be presented, together with the distribution of workplaces 24 of those employees. A breakdown by creative industries sub-group 25 will also be reported.

First, maps for employees working in the creative industries as a whole are presented for the years from 2009 to 2014. Then, maps for the share of employees working in the creative industries as compared to the share of employees working in any other industry are reported at Local Authority (LA) level. These are followed by maps looking at the distribution of employees over LAs in London by creative industries sub-group. Finally, the same maps are also created for workplaces.

The scope of this exercise is to put emphasis on the geographical concentration of the creative industries in London, and potentially around some workplaces in London. By doing so, the extent of the clustering and agglomeration effects which will be discussed in the final chapter of this report are highlighted. More details about the drivers of these agglomerations will be provided in the next chapter; however, concentration of employees in certain areas of London where certain establishments are operating (e.g. museums, TV production) should be selfexplanatory.

The underlying data used to produce these maps comes from the Office for National Statistics Inter-Departmental Business Register (IDBR), which contains a comprehensive list of UK businesses and is used by government for statistical purposes.

5.1 Employees This section presents maps of the distribution of employees in the creative industries in London.

Maps 1 to 6 show the number of employees per square kilometre by MSOA in London over the years 2009 to 2014. As can be easily seen, although the numbers of employees have grown over time, in terms of clustering areas there have not been any significant changes 26.

It illustrates a concentration of employees in Inner London, which will be further explored in the maps that follow.

22

As in the other sections of this note, the DCMS definition of “creative industries” was adopted in this chapter. For more detail, please refer to Chapter 1 of this document.

23 Note that these maps are based either on the MSOA (Middle layer Super Output Areas) or LA (Local Authority) geography.

The choice between the two is dependent upon ensuring data is presented using the best granularity, such that data are not disclosive. In more detail, in all cases in which maps provide a breakdown by creative industries sub-group, the LA geography was used; in all other cases, maps were produced at MSOA level. For more details on the Office for National Statistics geography, please see here.

24 Please note the distinction between “Enterprises” and “Workplaces”. The Inter-Departmental Business Register (IDBR) organises information on two different levels: a) enterprise-level, and b) local unit or “workplace” level. The latter are the physical locations (which could be more than one), which make up the enterprise. In the case of small businesses, enterprise and workplace might be the same; by contrast, for larger businesses, this might not necessarily be the case. For instance, the reader might think about the example of a large supermarket chain with many different branches in different locations.

25 Please note that the creative industries sub-groups “Crafts” and “Design: product, graphic & fashion design” were grouped into “Crafts; Design”, and the categories “Museums, galleries & libraries” and “Music, performing & visual arts” were grouped into “Museums, galleries, libraries; music, performing & visual arts”. These categories were grouped together in order to ensure data confidentiality.

26 In Maps 1 to 6, the darker the shade, the higher the number of employees in that particular area.

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Map 1: Number of employees in the Creative industries in London, MSOAs (per sq. km), 2009

Map 2: Number of employees in the Creative industries in London, MSOAs (per sq. km), 2010

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Map 3: Number of employees in the Creative industries in London, MSOAs (per sq. km), 2011

Map 4: Number of employees in the Creative industries in London, MSOAs (per sq. km), 2012

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Map 5: Number of employees in the Creative industries in London, MSOAs (per sq. km), 2013

Map 6: Number of employees in the Creative industries in London, MSOAs (per sq. km), 2014

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Map 7: Proportion of creative industries employees in London, LA level, 200927

27

Maps 7 and 8, as well as 9 to 12, provide a good example of the impact that a single establishment can have on the distribution of the creative industries across London. By comparing the proportion of creative industries employees in 2009 and in 2014 in the Borough of Hammersmith and Fulham, it can be easily seen that there has been a reduction in the number of employees over the period. This is likely to be down to the fact that in 2013 the BBC closed Television Centre in White City (which is in the borough of Hammersmith and Fulham). Maps 11 and 12 later on in this section also show changes in the share of the relevant creative industries sub-group within the borough.

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Map 8: Proportion of creative industries employees in London, LA level, 2014

In the previous chapters of this document, it emerged that the biggest share of jobs within the creative industries was taken by the IT, Software and Computer services group, followed by Film, TV, video, radio & photography; the Music, performing and visual arts; and Advertising & Marketing groups. The maps that follow, perhaps not surprisingly, show a concentration of employees in these sub-groups throughout London, with a few, clear cases of dominance in certain LAs. However, be aware that these are proportions of employees in the different subgroups in small areas of London. The reader must not be misled by this when interpreting the results: a small number of employees working in a small unit in a certain area of London might give the impression of the dominance of a particular creative industries sub-group; however, it is straightforward to see that this might not necessarily be the case.

By contrast, maps 11 and 12, focusing on Inner London only, allow to cross-check the number of creative industries employees in different areas of London with the proportion of employees working in the different sub-groups of the creative industries. In other words, in those maps the number of employees is accounted for.

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Map 9: Breakdown of creative industries employees by sub-group in London, LA level, 2009 28

Map 10: Breakdown of creative industries employees by sub-group in London, LA level, 2014

28

The category “Culture; Arts” (in green) includes the following: “Museums, galleries, libraries; music, performing and visual arts”.

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Map 11: Breakdown of creative industries employees by sub-group in inner London, LA level, 200929

Map 12: Breakdown of creative industries employees by sub-group in inner London, LA level, 2014

29

The category “Culture; Arts” (in green) includes the following: “Museums, galleries, libraries; music, performing and visual arts”.

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5.2 Workplaces 30 In 2014, London had 80,530 creative industries workplaces, which is equivalent to 17.7 per cent of all workplaces in London. Since 2009, this proportion increased by 2.1 percentage points from 15.6 per cent (or 61,730 workplaces).

Table 20 provides a detailed breakdown of these figures by size of enterprise, and compares the creative industries with all other industries in London.

Table 20: Creative industries by size of enterprise, London, 2014 Creative industries Size of enterprise

Number of workplaces

Number of employees

All other industries Number of workplaces

Number of employees

SMEs 79,520 260,300 331,990 1,691,100 (fewer than 250 employees) Large 1,010 148,700 43,085 2,423,300 (250 employees or more) Source: ONS Source: Inter-Departmental Business Register; numbers of workplaces rounded to the nearest 5, and employees rounded to the nearest 100.

Interestingly, 97.8 per cent of workplaces in London were Small Medium Enterprises (SMEs) in 2014; this proportion is higher when compared to all other industries in London, with 88.5 per cent of all workplaces being SMEs in 2014.

The same maps presented earlier for the distribution of employees in the creative industries in London were reproduced using creative industries workplaces as unit of analysis. As it can be easily seen, although the numbers of workplaces have grown over time, in terms of clustering areas there have not been any significant changes 31.

30 31

Workplaces with zero employment and enterprises with zero employment were excluded from this analysis.

In Maps 13 to 18, the darker the shade, the higher the number of workplaces in that particular area.

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Map 13: Number of workplaces in the Creative industries in London, MSOAs (per sq. km), 2009

Map 14: Number of workplaces in the Creative industries in London, MSOAs (per sq. km), 2010

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Map 15: Number of workplaces in the Creative industries in London, MSOAs (per sq. km), 2011

Map 16: Number of workplaces in the Creative industries in London, MSOAs (per sq. km), 2012

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Map 17: Number of workplaces in the Creative industries in London, MSOAs (per sq. km), 2013

Map 18: Number of workplaces in the Creative industries in London, MSOAs (per sq. km), 2014

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Map 19: Proportion of creative industries workplaces in London, LA level, 2009

Map 20: Proportion of creative industries workplaces in London, LA level, 2014

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Map 21: Breakdown of creative industries workplaces by sub-group in London, LA level, 2009 32

Map 22: Breakdown of creative industries workplaces by sub-group in London, LA level, 2014

32

The category “Culture; Arts” (in green) includes the following: “Museums, galleries, libraries; music, performing and visual arts”.

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Map 23: Breakdown of creative industries workplaces by sub-group in inner London, LA level, 2009 33

Map 24: Breakdown of creative industries workplaces by sub-group in inner London, LA level, 2014

33

The category “Culture; Arts” (in green) includes the following: “Museums, galleries, libraries; music, performing and visual arts”.

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6. The impact of the creative industries on the wider economy In the previous chapters of this report, we presented the latest evidence on the contribution of the creative industries to London’s economy. We did so by looking at output and employment figures for the industry, and compared these with the rest of the UK where possible. We also looked at the spatial distribution of these businesses, in order to gain insight into whether there is evidence of clustering and agglomeration effects.

The extent to which the spatial distribution of the businesses can influence the way in which the industry operates and innovates (e.g. clustering effects) will be considered in this section.

Similarly, the impact the industry may have on other sectors of the economy (e.g. spill-over and supply-chain effects) will also be assessed.

Finally, consideration will be given to the extent that the creative industries can have an effect on other, less “tangible” aspects, such as Londoners’ wellbeing (e.g. community cohesion and safety, cultural diversity, empowerment).

To do so, in this section a review of the available literature on the aspects mentioned above is presented. Evidence specific to London will be discussed whenever possible; however, it will also be drawn from contributions available at UK level or globally.

6.1 Economic growth According to The United Nations Conference on Trade and Development (UNCTAD), globally, the average growth rate for the creative industries sector between 2002 and 2011 was 8.8 per cent, compared to an overall global economic growth rate of 4.4 per cent. Further, world trade in creative industries and services has more than doubled between 2002 and 2011, according to UNCTAD. In recent years, both London and the UK proved to be resilient to the global financial crisis, experiencing strong growth as compared to other cities and countries respectively. This resilience has led academics and policy makers to look at sectors which are not typically associated as being the engine to growth, compared to others, such as the creative industries.

However, to our knowledge, there is not much evidence available on the specific role that the creative industries have played in stimulating growth when compared to others. In this respect, the analysis presented in Chapter 2 of this document can add to the debate, by reporting estimates of the contribution of the creative industries to London’s economy.

Nonetheless, strong evidence is available on some effects which might be generated by all industries in an economy. These effects are more related to the ability of businesses in certain sectors to take advantage from being located close to other similar businesses and generate innovation, rather than being directly related to the characteristics of the industry itself. Since the maps reported in Chapter 4 showed some degree of clustering of the creative industries and their sub-groups, it might be reasonable to assume that the creative industries in London might be generating some of the effects discussed below.

This evidence comes from a vast academic literature on the links between creativity, cities and growth (see, among others, Hall (2000); Florida (2002, 2003); Scott (2004); Currid & Connolly (2008)). This research suggests three different channels through which the creative industries, as many other industries, can lead to economic growth.

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First, the creative industries might be generating so-called “multiplier effects” because of their links to other sectors of the economy, and in the way in which growth within the sector stimulates local demand for products and services.

Second, the creative industries may increase productivity in other sectors, in a mutual exchange of creative ideas and knowledge which becomes part of the wider production process (Nesta, 2009 and 2014).

Third, the creative industries may have an amenity value and attract tourists. Evidence of the economic value of tourism in part generated by the availability of cultural attractions and amenities is explored by GLA Economics in another publication (2015) 34.

To discuss these different aspects, and the extent to which the creative industries in London could potentially benefit from these effects, the following paragraphs focus on the evidence available around: i) clustering and agglomeration effects; ii) spill-over effects on other relevant industries, such as tourism.

6.1.1 Cluster and agglomeration effects Broadly speaking, when firms decide where to locate, they take into consideration the vicinity of other firms that produce similar products and services, as well as the proximity of firms whose products are complementary to what they do. This is known as clustering.

According to Porter (1998), a cluster is “a geographic concentration of interconnected companies, specialized suppliers, service providers, associated institutions and firms in related industries”. The idea is that firms may benefit from proximity to firms in other sectors by trading with them and from recruiting talent from them, as it is the case for individuals in creative occupations outside the Creative Industries. Clearly, physical location is not anymore a requirement for a cluster to be defined as such, as firms can be co-located in the virtual space of, for example, an online platform. In addition, vicinity may also facilitate knowledge sharing among firms (i.e. spill-over effects – see below for more details), consisting of serendipitous transfers of information or ideas from one person or firm to another.

This aspect is particularly relevant for firms in the Creative Industries, generally described as a knowledge-based industry; in other words, an industry where knowledge, interpersonal communication and flexible skills have a prominent role over routine and automated tasks. For instance, it has been shown that the rise of London as a major technology hub was enabled by the opportunity for technology firms (some of which operating within the creative industries) in London to benefit from proximity to industry clusters as sources of talent and funding (Mandel & Liebenau, 2014).

Box 1- Creative clusters in London London is home to one of the UK’s fastest growing computer game developer clusters, representing around 19 per cent of the UK’s games development workforce and, in 2012, accounting for an estimated investment of £96.6 million on games development (Games Investor Consulting, 2013).

A geographical analysis from Nesta shows that, although Tech City boroughs like Hackney 34 experienced a boost in the number of video game companies created in recent years, the GLA Economics (2015). The Value of Cultural Tourism to London, GLA Economics Current Issues Note 44.

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highest rates of company formation were in Islington, Westminster and Camden (Nesta, 2014a).

A further area of particular interest for Creative Industries in London is Soho, in the City of Westminster, as it is one of the world’s most influential media clusters, specifically of film, advertising, TV and radio firms.

In 2010, Soho1 was home to one in five jobs in the film distribution industry as well as one in four jobs in film production in the UK, with the UK film industry experiencing strong growth (of 250 per cent) in the 15 years to 2011 (Oxford Economics, 2011).

Moreover, between 2004 and 2013, creative workers based in Soho have won nearly two hundred major awards, including 22 Oscars and 100 awards from the Cannes International Film Festival (BOP Consulting, 2014).

1

Data refers to the smallest statistical region that overlaps London, the West End Ward, approximately the W1 postcode in Central London.

Spill-over effects generated by agglomeration entail both benefits (such as increased cooperation and innovation) and costs (such as increased competition) to firms that locate in proximity to other firms in the same or in a different industry (Nesta, 2010).

Furthermore, some argue that urban regeneration is a tangible example of the wider impact that the Creative Industries might have on the economy. Although it might be fair to state that there exists a long tradition of using culture as a catalyst for regeneration based on ‘hard infrastructure’, such as museums and other iconic cultural locations; and ‘soft infrastructure’, such as events and creative spaces, which can also be the motor of a regenerative process for an area, there is not enough evidence to prove the causality or a possible direct link between the creative industries and urban regeneration35.

Additionally, economic clusters serve as the driving force in many regional economies, and help cities direct their economic development. In London, historical and market forces have led to the formation of a world-leading arts, culture and creative industries cluster 36. This cluster makes the industry more productive and allows the UK to compete on the global cultural stage.

Therefore, the impact that the development (and investment) in the creative economy in London can potentially have on the economy of the rest of the country cannot be ignored 37.

35

An example which is often used by those advocating the beneficial effects of creative industries on regeneration comes from the 2012 Olympic Games. An example of how both ‘hard’ and ‘soft’ infrastructure, namely the investment in 11,000 homes in East London alone and the Olympic events, have fostered urban regeneration in East London, with an overall economic impact of the Games estimated between £28 billion and £41 billion in Gross Value Added by 2020 (UK Government & Mayor of London, 2013).

36 London’s cultural sector has been centuries in the making. It has been one of the world’s leading centres for theatre for more than 400 years, while the establishment of the national museums and collections in London stretches back to 1759. London’s long history as a centre of cultural production and consumption means that it has built up global institutions, knowhow, financiers and distributors, and education facilities – it is home to 90 per cent of the specialist cultural higher education institutions in Britain. As such, London ‘specialises’ in culture and the creative industries.

37 There are many different ways in which London and the other UK regions can collaborate to deliver creative industries products and services, which can range from co-commissions, collaborations, tours and digital distribution to name a few.

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Indeed, the benefits deriving from creative businesses locating close to one another (agglomeration benefits) could translate in firms in creative clusters being more productive than they would otherwise be. Broadly speaking, this is equivalent to saying that £1 of funding to organisations in the cluster generates more output or activity than £1 of funding to an organisation that does not benefit from such clustering advantages. These benefits, however, are not confined to London’s geographical boundaries; and can spread to the rest of the country.

The benefits of clustering could include the following: Ability to attract more customers – part of this is due to the attraction generated by the wider arts and culture offering inherent in a cluster but also is the result of spillovers from London’s wider offerings that encourage people to visit the capital (facilitated by the capital’s transport accessibility both nationally and globally); Access to specialist goods/services and labour inputs – although creative, arts & entertainment and libraries, archives, museums & other cultural activities sectors purchase goods which other regions specialise in (e.g. manufacturing and construction) they rely heavily on services in which London specialises: the creative, arts & entertainment sector purchased about £1.6 billion (or 34.2 per cent of its total purchases) worth of services from the information & communication, the professional, scientific & technical and the financial & services sectors in 2012 38. In the first two of these sectors, London and the South East are the only regions where there is specialisation of these sectors and London is the only region that specialises in the latter sector.

Similarly, the libraries, archives, museums & other cultural activities sector purchased £0.42 billion (or 25.0 per cent of its total purchases) from the arts, entertainment and recreation sector alone in 2012, with a further £203 million (11.9 per cent) from the information & communication, the professional, scientific & technical and the financial & services sectors 39.

If the arts and culture industry were to be spread over a wider geographic area it is unlikely that such clustering benefits could be realised. This would reduce the industry’s productivity as a whole so that for each £1 invested, the output would be lower than if firms remained close to one another and in proximity to firms supplying specialist inputs.

6.1.2 Spill-over effects As already mentioned, creative industries help other sectors to grow; and this role is emphasised when businesses operating in the creative sector agglomerate in clusters, hence generating spillovers within the industry and across industries (Neil, 2014).

Indeed, as highlighted by Nesta (2010), clusters of creative businesses play a crucial role as an enabler of local economic growth, both in terms of competitive, connected agglomerations of high-growth firms; and as sources of spill-overs into other industries, such as high-tech manufacturing and knowledge-intensive business services.

38

GLA Economics calculations based on ONS Input Output Tables available here.

GLA Economics based on ONS UK Input-Output tables. Please note that while Input-Output tables relative to activity in the UK economy as a whole, sectors specialisation refers to an index of specialisation for the London’s economy, and based on employee numbers. It is estimated using data from the ONS Business Register and Employment Survey (BRES), as (REGION EMPLOYMENT IN SECTOR/REGION TOTAL EMPLOYMENT)/(REST OF ENGLAND EMPLOYMENT IN SECTOR/REST OF ENGLAND TOTAL EMPLOYMENT). For further detail on indices of specialisation by industry sectors, see “London’s sectors – more detailed jobs data”, GLA Economics Working Paper 65.

39

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Robust evidence is available on the positive impact of the creative industries clusters on locations’ attractiveness. In fact, the findings of a 2014 study of English cities by Nesta suggested that creative clusters act as local amenities.

The role of creative clusters as catalysts to increase local attractiveness and their contribution to other sectors of the economy, as well as the rest of the UK is further evident when their impact on the tourism sector is considered. In fact, tourism represents an example of the spill-overs that the creative industry can potentially generate on other sectors.

In 2013, GLA Economics estimated that cultural tourism supported 80,000 jobs and contributed £3.2 billion of GVA to London, just under a third of the overall contribution from the tourism sector as a whole (GLA Economics, 2015). Furthermore, more recent analysis showed that ‘creative tourism’, a component of cultural tourism that “focuses on the process and the contexts more than on the final product”, is reported to be on the rise (Richard & Marques, 2012).

The relationship between the tourism industry and creative industries in London is a mutually beneficial one. The tourism industry provides business opportunities to creative firms: the tourist experience can benefit greatly from firms developing accessible and engaging technology, and the creative sector can exploit new ways of doing business that ensue from such innovations (OECD, 2014).

In 2014, London ranked at the top of MasterCard’s Top 20 Global Destination Cities Index both in terms of number of international visitors and overnight visitor spend (Mastercard, 2015).

Creative Industries and creative clusters contribute to attract tourists to the capital and increase London’s attractiveness as a destination. It is not surprising that, according to VisitEngland (2015), the UK’s most visited visitor attractions are all located in London (i.e. British Museum, National Gallery and Southbank Centre).

An additional component of the creative industries that contributes to improve London’s attractiveness as a destination is the music industry.

According to UK Music, between 2011 and 2014 the majority of attendees to live music events in the UK were tourists, both domestic and foreign. Further, in 2014, there were 3.3 million music tourists to London, accounting for 34.7 per cent of all music tourists to the UK (UK Music, 2013 and 2015), and accounted for 29.0 per cent (or about £551 million) of direct spend by music tourists in the whole of the country. According to the same research, 4,800 full-time jobs were sustained by music tourism in London in 2014. In addition research from the Audience Agency in 2014 suggested that over 40 per cent of audiences for London’s cultural organisations come from other English regions (The Audience Agency, 2014).

Box 2 - Airbnb and the rise of cultural tourism Airbnb is a website for people to let and rent accommodation. It was founded in San Francisco in 2008 and currently has over one million listings worldwide across more than 34,000 places. Airbnb supplements the offer of traditional tourism facilities thanks to a wellfunctioning online community. With two thirds of Airbnb’s UK hosts based in London, the firm has clearly benefited from tourism flows to the Capital, but in return it has helped enhancing the tourists’ experience by providing the opportunity of living the city in an authentic way (Mayor of London, 2015).

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A tightly-linked supply chain One of the main benefits accrued by firms when co-locating in clusters is the opportunity of taking advantage of a shorter, more tightly linked supply chain. Indeed, it is widely agreed that identifying other sectors of the economy which have strong supply and demand relationships with creative firms is crucial to understand the indirect impacts the creative industries may have on the wider economy (see among others, The Work Foundation, 2009; Chouguley, Naylor & Rosemberg Monte, 2011; Unesco, 2013; and City of London, 2014).

Commonly, these effects are known as “multiplier effects”, which can manifest themselves in two different ways. Either as impacts on the suppliers (i.e. an increase in goods and services purchased by creative firms will inevitably benefit the local suppliers of those goods and services); or, indirectly, on incomes (i.e. the suppliers effect is likely to generate an increase in employment, or, more likely, an increase in incomes of those already employed in those sectors, hence resulting in an increase in household incomes, leading to higher consumer spending within the local economy).

For instance, a report by the City of London Corporation prepared by BOP Consulting (2014) estimated that the organisations within the City arts and culture cluster generated an indirect economic impact, measured in GVA terms, of £20.4 million in the City of London alone and £20.9 million in London as a whole in the 2013/2014 financial year.

Additionally, they also estimated the induced economic impact as generated by the expenditures of people working in the organisations located in the arts and culture cluster in the City and in firms in their direct supply chain. In GVA terms, in the 2013/2014 financial year, the income effect generated by the cluster was £53 million for the City, and £75 million to London as a whole (measured in GVA terms, using their central scenario).

However, the most evident case of the positive effects that creative industries can have on other sectors is the link with the tourism industry in London (and in the UK as a whole).

Tourism is one of the UK’s most important industries amounting to 9 per cent of the UK’s GDP. Expenditure in the UK tourism industry amounted to an estimated £126.9 billion in 2013 (Visit Britain, 2013). It is especially important to London as the capital’s culture and heritage draw in international tourists, responsible for attracting 80 per cent of the almost 17 million international visitors who came to the capital in 2013 (GLA Economics, 2015).

Moreover, Europe is the most competitive tourism market in the world, accounting for five of the top ten most visited countries. The UK falls well behind its European peers - France is the most visited country, with 83 million visits, with the UK in 8th place, behind Spain, Italy and Germany. Inner London is the only UK region within the top 20 most visited EU regions.

Additionally, with the increasing wealth of the BRIC and other emerging economies, international tourists will become ever more important to the UK’s tourism industry and whilst London is a significant draw, the city can also be a gateway to the rest of the country. Already a large proportion of visitors from ‘long-haul’ destinations come on multi-destination trips that feature other parts of the UK besides London.

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Improvement of the wider labour market The figures presented earlier in this document show the success story of the creative economy in London, which, in 2014, had 552,200 jobs in creative occupations, usually in occupations requiring high skills and high qualifications.

Interestingly, a recent piece of research by Nesta (2015b) shows that “creative jobs will (..) be more resistant to automation. Creativity is inversely related to computerisability: 87 per cent of highly creative workers are at low or no risk of automation, compared with 40 per cent of jobs in the UK workforce as a whole. At the regional level, we see that places with a higher proportion of the workforce in creative jobs, most obviously London, are also more immune to automation”.

Other streams of work have provided evidence on the role played by the creative industries on driving both higher wages and employment in other sectors (see among others, Lee, 2014).

However, evidence in this field is controversial and partially inconclusive. For instance, the effect of the industry on productivity has recently been explored by Nesta (2014). They have developed an econometric model that explores the impact of cultural clusters on the productivity of English cities using employment, occupational and institutional indicators.

Evidence showed that, when considering interactions between cultural clustering and salaries in creative industries and occupations, creative workers in cities with high levels of cultural clustering enjoy a wage premium. At the same time, however, Nesta found evidence of a negative correlation between clustering of creative industries and wages, which suggests that skilled workers may be willing to sacrifice relatively higher salaries elsewhere to be located in places with a “vibrant cultural scene” (ibidem), like London.

Finally, Higher Education Institutions (HEIs) in London supply specialist labour to the arts and culture sector in the capital: 25.3 per cent of all students in the UK studying creative arts and design studied at HEIs in London in 2013/14 (HESA, 2015; Statistical First Release 210); it is therefore likely that after their studies they will pursue a career in London (although it should be noted that the direction of causality here is not clear; e.g. whether they come to London because of the relatively large arts and culture sector or vice versa).

6.2 Well-being Together with more tangible benefits generated by the creative industries, there might be others which could be more difficult to monetise. The following section presents such aspects in a systematic way.

Generally, the concepts of health and personal well-being are prone to subjective interpretations 40: it is difficult to assign a monetary value to these concepts, but it is commonly accepted that their value is significant.

In this regard, the Work Foundation highlighted some of the benefits that local authorities can observe investing in creative industries, such as empowering communities and contributing to cultural diversity by encouraging the creation of networks and the sharing of information; or, alternatively, by providing an alternative use for existing/empty spaces (The Work Foundation, 2009).

40

The World Health Organization defines health as a “state of complete physical, mental and social well-being and not merely the absence of disease or infirmity”. International Health Conference, World Health Organization, April 1948.

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Specifically, the impact of the creative industries on individual well-being can be seen as a consequence of the product or service that firms provide, such as arts exhibitions or performances, which are central to the well-being of Londoners. Around 84 per cent of the respondents to the Mayor’s survey of June 2013 reported that culture is important in ensuring a high quality of life, with 51 per cent describing it as ‘very important’ (ICM, 2013). For example, Showtime, London’s biggest pan-London outdoor arts festival, attracted 1.5 million people, of whom over 50 per cent had never experienced outdoor performance and 94 per cent of the audience said it made their neighbourhoods feel more vibrant (The Audience Agency, 2012).

Furthermore, by offering volunteering opportunities, firms in creative industries help individuals to develop new skills and enhance their engagement with the community they live in.

On another front, looking at the effect that creative jobs can have on the well-being of those in these occupations, Nesta (2015a) found that the results are mixed: “creative occupations tend to be characterised by higher than average levels of life satisfaction, worthwhileness and happiness – but also higher levels of anxiety. Once other factors that affect subjective wellbeing are controlled for – including wages, which are higher than average for creative occupations like computer programmers and advertising professionals but lower for artists, musicians and actors – jobs in arts, crafts and design occupations are generally associated with higher levels of wellbeing, whereas jobs in advertising, film, TV and radio, publishing and IT are associated with lower wellbeing levels”.

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Conclusion The aim of this report was to provide evidence of the impact and the value of the creative industries in London, and, to an extent, of the impact that the creative industries have on the wider economy.

By focusing on producing estimates of GVA, employment and spatial distribution of the creative industries and the creative economy specifically for London, this report represents an attempt to get a better understanding of how the performance of the creative industries in London compares to that in the rest of the UK; and to what extent the industry can contribute to strengthen London’s competitiveness with other global cities.

The analysis finds that in 2012, the GVA of the creative industries in London was £34.6 billion, accounting for just under half (47.6 per cent) of the UK total. As a share of total GVA in London, the creative industries group contributed 10.7 per cent, which, in 2012, was equal to £325.6 billion. GVA per workforce job in the Creative Industries (as the proxy measure of productivity of the sector) was £71,100 in 2012, which was 25 per cent higher than the average across all sectors of London’s economy.

The labour market characteristics of the workforce in the creative industries and in the creative economy in London was looked at. In 2014, there were 795,800 jobs in the creative economy in London, or 16.3 per cent of total jobs in the capital. This compares to 7.4 per cent of the total number of jobs in the rest of the UK being taken by people employed in the creative economy.

Moreover, it was reported that median pay per hour in the creative industries in 2014 was 18.8 per cent higher than in other sectors of the economy taken altogether. The gap between the highest paid occupations and the lowest ones was equal to £24.12 per hour, which is in line with the gap registered in the non-creative economy.

A mapping exercise looking at the distribution of employees and workplaces across London was undertaken looking at understanding the extent of clustering and agglomeration effects which were then discussed further in the concluding chapter of this report.

The report concluded with a literature review of the impact of the creative industries on the wider economy, providing evidence around the role that the creative industries can play to sustain economic growth of the capital, through two main mechanisms: agglomeration effects, and spill-over effects. It also provided a short discussion of the impact that the creative industries can have on individual well-being of Londoners.

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References Airbnb (2014). Economic Impact: London & Edinburgh.

Arikan, A. T. (2009). Interfirm Knowledge Exchanges and the Knowledge Creation Capability of Clusters. In Academy of Management Review, vol.34(4), 658-676.

Audience Agency (2014). Written evidence submitted by The Audience Agency to CMS Select Committee inquiry into the work of ACE. BOP Consulting (2014). Soho: the world’s creative hub, BOP consulting.

CEBR (2013). The contribution of the arts and culture to the national economy.

Chouguley, U.; Naylor, R.; Rosemberg Monte, C. (2011). Edinburgh festivals impact study City of London Corporation (2013). The economic, social and cultural impact of the City Arts and Culture Cluster.

City of London Corporation (2014). The City Arts and Culture Cluster: Economic Impacts and Developments.

Currid, E., Connolly, J. (2008) Patterns of knowledge: the geography of advanced services and the case of art and culture, Annals of the Association of American Geography, 98(2), pp.

414-434.

Deloitte (2013). London: enabling a world leading digital hub.

DCMS (2001). 2001 Creative Industries Mapping Documents.

DCMS (2015). Creative Industries Economic Estimates.

European Commission (2013). Creative Industries: Analysis of industry-specific framework conditions relevant for the development of world class clusters.

Fitjar and Rodríguez-Pose (2011). Innovating in the periphery: firms, values and innovation in southwestern Norway, European planning Studies, 19(4).

Florida, R. L. (2002) The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life. New York: Basic Books.

Florida, R. L. (2004) The Flight of the Creative Class: The New Global Competition for Talent.

New York: Harper Business.

Foord, Jo (2013). The new boomtown? Creative city to Tech City in east London, in Cities, Vol 33 Aug 2013, pp51-60 Games Investor Consulting (2013). London Games Research Report.

GLA Economics (2013). London Labour Market Projections.

GLA Economics (2015). Gross Value Added per Workforce Job in London and the UK, GLA Economics working paper 63.

GLA Economics (2015). The value of cultural tourism to London.

Hall, P. (2000) Creative cities and economic development, Urban Studies, 37(4), pp. 639-649.

Higgs, Cunningham and Bahkshi (2008). Beyond the Creative Industries: Mapping the Creative Economy in the UK, Nesta, London.

Lee, Neil (2014). The creative industries and urban economic growth in the UK, in Environment and Planning A, Vol 46 No 2 Feb 2014, pp455-470 Mandel, M.; Liebenau, J. (2014). London: digital city on the rise Mastercard (2015). 2015 Global Destination Cities Index.

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Mayor of London (in print). Cultural Tourism Strategy.

NESTA (2010). Creative clusters and innovation: putting creativity on the map.

NESTA (2013). Creativity, cities and innovation: Evidence from UK SMEs, Working Paper 13/10.

NESTA (2014a). A map of the UK Games Industry NESTA (2014b). Capital of Culture? An econometric analysis of the relationship between arts and cultural clusters, wages and the creative economy in English cities.

NESTA (2015a). The creative economy and the future of employment.

NESTA (2015b). Creativity vs. Robots. The creative economy and the future of employment.

OECD (2014). Tourism and the Creative Economy.

Oxford Economics (2011). The Economic Impact of the UK Film Industry.

Porter, M.E. (1990). The competitive advantage of nations, London: Macmillan.

Porter, M.E. (1998). Clusters and the new economics of competition, Harvard Business Review, 76, pp. 77-90.

Richards, G. and Marques, L., (2012). Exploring Creative Tourism: Editors Introduction, Journal of Tourism Consumption and Practice, 4(2), 2012.

Scott, A.J. (2004) Cultural-products industries and urban economic development, Urban Affairs Review, 39, pp. 461-490.

The Audience Agency (2012). SHOWTIME Audience Research.

The Work Foundation (2009). Investing in Creative Industries? A guide for local authorities.

UK Government and Mayor of London (2013). Inspired by 2012: The legacy from the London 2012 Olympic and Paralympic Games.

UK Music (2013). The Economic Contribution of the Core UK Music Industry.

Unesco (2013). Creative Industries for youth. Unleashing the potential.

Visit Britain and Deloitte (2013). Tourism: jobs and growth. The economic contribution of the tourism economy in the UK. World Tourism Organization (2012). Tourism and Intangible Culturale Heritage.

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Appendix A: Calculations for GVA and GVA per workforce job in the creative industries in London This note provides an overview of the methodology and calculation steps made in order to produce estimates of the total Gross Value Added (GVA), and the GVA per workforce job of the creative industries in London.

This analysis is drawn from a methodology developed by GLA Economics in Working Paper 63 and extending this to a bespoke industry using a mixture of SIC07 industry codes. 41 This is an extension of the methodology outlined in that paper, since the definition of the creative industries uses SIC07 codes at a lower level than that at 2 digit SIC07 divisions. Additional modelling steps have been made to derive the estimates of GVA and workforce jobs at the 4 digit SIC07 group level, based on the use of BRES data, and the use of “creative intensity” allocations as outlined by DCMS. The model here however is largely based on the division level model for regions, outlined within Chapter 3 of Working Paper 63.

Background Gross Value Added measures the contribution to the economy of each individual producer, industry or sector. More simply put, it is the value added generated from activity in the economy. Within GVA, there are a number of component elements, which are as follows: • Compensation of Employees (CoE) • Gross operating surplus/mixed income (GOS/MI), which includes profits, non-market capital consumption and holding gains, self-employment and rental income • Taxes less subsidies on production For the estimates provided within this paper, data on GVA is drawn from the Regional Gross Value Added (Income Approach) publication by the ONS. 42 However the calculations for estimation of GVA per workforce job differ, and as opposed to previous measures and estimates of GVA per job, the methodology put forward by GLA Economics looks to isolate the economic output attributable to the workforce; the core assumption made is that some components of GVA (therefore a proportion of published GVA) would not be as a direct result of economic activity, most notably that of rental incomes (through market rents and imputed rental incomes) and a proportion of taxes less subsidies that would be assumed to relate to rental incomes.

Using data from National and Regional Accounts, and data specifically requested from the Office for National Statistics, a model of attribution was developed which isolated the proportion of published GVA attributable to the workforce. For most industry sectors, this proportion was around 99 per cent, with the notable exceptions being real estate, construction, and financial and insurance.

Division level methodology for calculation of GVA per workforce job The methodology developed to attribute published GVA to that of the workforce applied to industry sections (1 digit SIC07 sections); the model at the division level (2 digit SIC07 level) use these attributions for each component division within a section, however other ONS employment and household survey data are also used to develop estimates of the attributable

41 42

“Gross Value Added per Workforce Job in London and the UK”, GLA Economics Working Paper 63.

“Regional Gross Value Added (Income Approach), December 2014”, Office for National Statistics.

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GVA and modelled workforce jobs at the division level, and henceforth, the estimate of GVA per workforce job.

The reason for this is that neither division level estimates of GVA, nor workforce jobs are available for London; the methodology derives these estimates and ensures that they constrain to that of the total section level estimates. The methodology at the division level makes one key assumption as regards GVA: that within sections, divisions have different levels of labour productivity, and these are reflected in wage differentials between divisions. In a more productive division within a sector, it is assumed that higher wages are paid to those employed within it.

Further details of the methodology used and full calculation steps are provided within Appendix A of GLA Economics Working Paper 63. However the steps provided below give a brief overview of the calculation of GVA per workforce job.

Step 1: Setting a constraint to section level GVA The methodology used at the section level to determine the proportion of published GVA attributable to the workforce is also used in the division level analysis. At this first stage the assumption is made that the proportions of GVA attributable to the workforce are identical for all divisions within sections.

Step 2: Creation of attributable GVA estimates at the division level This step assigns proportions of section level GVA to individual divisions within them, based solely on the employment make-up of the divisions within the section. As workforce jobs data are not available at the division level, data from BRES on employees, and APS for the selfemployed are used to apportion out section level GVA to each of the divisions contained within it.

Step 3: Using ASHE data to account for relative productivity within sections Data on mean earnings for all jobs within each division are collected using ASHE. With these data, this stage of the methodology looks to adjust the estimated attributable GVA for each of the divisions based on the relative wage level of the division compared to the section as a whole. Therefore a division where employees are earning higher wages will have a greater proportion of the section’s GVA assigned to it. The calculation ensures at the same time that the sum of the “productivity adjusted GVA� estimates for each division within the section constrains to the section level total.

Step 4: Calculation of estimated workforce jobs for each division Using data from BRES and APS on employees and self-employed jobs within each division, the proportion of the published workforce jobs for the section allocated to each division within the section is then estimated.

Step 5: Calculation of estimated division level GVA per workforce job With these data, the productivity adjusted GVA for a division (in Step 3) is divided by the estimated workforce jobs for each division (Step 4), leading to an estimate of GVA per workforce job.

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Specific Calculation of total GVA in the Creative Industries in London The analysis in this appendix is drawn upon analysis undertaken by DCMS, specifically using the definition of the creative industries based upon the selection of 4 digit SIC07 industry groups.

Table A1 outlines the specific 4 digit SIC07 groups contained within the creative industries, alongside the broader creative industries group in which each individual SIC industry resides in.

Table A1: Specific industries contained within the Creative Industries Creative Industries Group Advertising and marketing Architecture Crafts Design: product, graphic and fashion design

SIC Code 70.21 73.11 73.12 71.11 32.12 74.10

Industry Description Public relations and communication activities Advertising agencies Media representation Architectural activities Manufacture of jewellery and related articles Specialised design activities

59.11 Motion picture, video and television programme production activities 59.12 Motion picture, video and television programme post-production 59.13 Motion picture, video and television programme distribution Film, TV, video, radio and 59.14 Motion picture projection activities photography 60.10 Radio broadcasting 60.20 Television programming and broadcasting activities 74.20 Photographic activities 58.21 Publishing of computer games 58.29 Other software publishing IT, software and computer services 62.01 Computer programming activities 62.02 Computer consultancy activities 58.11 Book publishing 58.12 Publishing of directories and mailing lists 58.13 Publishing of newspapers Publishing 58.14 Publishing of journals and periodicals 58.19 Other publishing activities 74.30 Translation and interpretation activities 91.01 Library and archive activities Museums, galleries and libraries 91.02 Museum activities 59.20 Sound recording and music publishing activities 85.52 Cultural education 90.01 Performing arts Music, performing and visual arts 90.02 Support activities to performing arts 90.03 Artistic creation 90.04 Operation of arts facilities Source: Department for Culture, Media and Sport.

The methodology to derive the specific industry output and workforce jobs is based upon the methodology set out within GLA Economics Working Paper 63; however the following section outlines in more detail the specific calculation steps required to generate the final estimates of GVA, employment and GVA per workforce job for the creative industries.

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Step 1: Calculation of GVA estimates at the division level At the regional level, data on GVA is only available at 1 digit SIC07 sections, therefore data from BRES on employees and APS on self-employed jobs are used to apportion out section level GVA to each of its component divisions, based on the proportion of employees and self-employed within each division.

The second stage of the methodology is to make a further adjustment based on the relative wage levels of those employed within divisions of a section. Using these data, the estimates of the “productivity adjusted� GVA has been calculated for all 2 digit SIC07 divisions for London, and are are used for the subsequent calculations.

Step 2: Calculation of workforce job estimates at the division level Data on workforce jobs at the regional level are not available, therefore data on employees from BRES, and self-employed jobs from APS are used to derive an estimate of workforce jobs based upon the proportions of total employees and self-employed in each of the divisions within the section. Although data on workforce job by section is available, the sum of employees and selfemployed may not necessarily add to the workforce job total, since data are drawn from two different sources. However the proportions of employee and self-employee jobs by division are constrained to the section level workforce job estimate, therefore the modelled workforce jobs by division will sum to the section level estimate.

For the purpose of calculating the GVA, modelled workforce jobs and GVA per workforce job of the creative industries, the following table outlines the productivity adjusted GVA and workforce jobs for the 2 digit SIC07 divisions which are related to the creative industries.

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Table A2: Modelled GVA and workforce jobs for divisions relating to creative industries, London Division 32: Other manufacturing

Modelled GVA (ÂŁm)

Modelled workforce jobs

608

9,800

58: Publishing activities

5,644

61,600

59: Motion picture, video and television programme production, sound recording and music publishing activities

5,777

66,800

60: Programming and broadcasting activities

3,039

32,600

13,550

142,700

11,492

185,500

4,345

86,600

73: Advertising and market research

4,342

80,600

74: Other professional, scientific and technical activities

2,782

65,300

17,195

374,800

2,548

66,500

709

19,200

62: Computer programming, consultancy and related activities 70: Activities of head offices; management consultancy activities 71: Architectural and engineering activities; technical testing and analysis

85: Education 90: Creative, arts and entertainment activities 91: Libraries, archives, museums and other cultural activities

Source: GLA Economics calculations. Modelled workforce jobs are rounded to the nearest hundred (however unrounded data are used for subsequent calculations).

After undertaking these two steps, the estimates of division level GVA and workforce jobs have been set, and the subsequent modelling takes account of the relative shares of employee jobs within each of the individual 4 digit SIC07 groups within the 2 digit SIC07 divisions.

Step 3: Using BRES data to apportion out division level GVA and workforce jobs Within each of the industries outlined in Table A1, BRES data has been used to determine the proportion of total division level employees that are comprised by the specific 4 digit SIC07 groups.

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Division 32: Other manufacturing Modelled division level GVA Modelled division level WFJ Group

£608 million 9,800 Employees

32.12: Manufacture of jewellery and related articles

2,400

Share of Total Modelled Creative Division GVA (£m) 26.1%

159

Modelled Creative WFJ 2,560

Division 58: Publishing activities Modelled division level GVA Modelled division level WFJ Group 58.11: Book publishing 58.12: Publishing of directories and mailing lists 58.13: Publishing of newspapers 58.14: Publishing of journals and periodicals 58.19: Other publishing activities 58.21: Publishing of computer games 58.29 Other software publishing

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£5,644 million 61,600 Employees

Share of Total Modelled Creative Division GVA (£m)

Modelled Creative WFJ

54,100

20.0%

1,128

12,300

10,800

0.4%

21

200

200

26.2%

1,477

16,100

14,200

36.0%

2,032

22,200

19,500

11.1%

327

6,800

6,000

1.2%

67

700

600

5.1%

291

3,200

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Division 59: Motion picture, video and television programme production, sound recording and music publishing activities Modelled division level GVA Modelled division level WFJ Group

£5,777 million 66,800 Share of Total Division

Employees

59.11: Motion picture, video and television programme production activities 59.12: Motion picture, video and television programme post-production 59.13: Motion picture, video and television programme distribution 59.14: Motion picture projection activities 59.20: Sound recording and music publishing activities

Modelled Creative Modelled GVA (£m) Creative WFJ

27,300

60.1%

3,470

40,100

8,000

17.6%

1,015

11,700

2,600

5.7%

328

3,800

3,500

7.6%

439

5,100

4,100

9.1%

525

6,100

Division 60: Programming and broadcasting activities Modelled division level GVA Modelled division level WFJ Group

£3,039 million 32,600 Share of Total Division

Employees

60.10: Radio broadcasting 60.20: Television programming and broadcasting activities

Modelled Creative Modelled GVA (£m) Creative WFJ

6,000

22.1%

673

7,200

21,000

77.9%

2,366

25,400

Division 62: Computer programming, consultancy and related activities Modelled division level GVA Modelled division level WFJ Group 62.01: Computer programming activities 62.02: Computer consultancy activities

GLA Economics

£13,550 million 142,700 Share of Total Division

Employees

Modelled Creative Modelled GVA (£m) Creative WFJ

28,100

22.0%

2,986

31,500

70,000

54.9%

7,433

78,300

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The creative industries in London Working Paper 70

Division 70: Activities of head offices; management consultancy activities Modelled division level GVA Modelled division level WFJ Group

£11,492 million 185,500 Share of Total Division

Employees

70.21: Public relations and communication activities

8,900

Modelled Creative Modelled GVA (£m) Creative WFJ

5.2%

600

9,700

Division 71: Architectural and engineering activities; technical testing and analysis Modelled division level GVA Modelled division level WFJ Group

£4,345 million 86,600 Employees

71.11: Architectural activities

Share of Total Modelled Creative Modelled Division GVA (£m) Creative WFJ 23,500 31.1% 1,349 26,900

Division 73: Advertising and market research Modelled division level GVA Modelled division level WFJ Group

£4,342 million 80,600 Employees

73.11: Advertising agencies 73.12: Media representation

Share of Total Modelled Creative Modelled Division GVA (£m) Creative WFJ 42,600 58.1% 2,522 46,800 8,600 11.7% 509 9,500

Division 74: Other professional, scientific and technical activities Modelled division level GVA Modelled division level WFJ Group

£2,782 million 65,300 Share of Total Division

Employees

74.10: Specialised design activities 74.20: Photographic activities 74.30: Translation and interpretation activities

Modelled Creative Modelled GVA (£m) Creative WFJ

12,900

34.0%

947

22,200

4,700

12.3%

342

8,000

800

2.0%

55

1,300

Division 85: Education Modelled division level GVA Modelled division level WFJ Group 85.52: Cultural education

GLA Economics

£17,195 million 374,800 Employees

Share of Total Modelled Creative Modelled Division GVA (£m) Creative WFJ 1,900 0.5% 90 2,000

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The creative industries in London Working Paper 70

Division 90: Creative, arts and entertainment activities Modelled division level GVA Modelled division level WFJ Group

£2,548 million 66,500 Share of Total Division

Employees

90.01: Performing arts

Modelled Creative Modelled GVA (£m) Creative WFJ

14,600

49.6%

1,263

32,900

90.02: Support activities to performing arts

2,000

6.8%

174

4,500

90.03: Artistic creation

8,500

29.0%

738

19,300

90.04: Operation of arts facilities

4,300

14.7%

374

9,800

Division 91: Libraries, archives, museums and other cultural activities Modelled division level GVA Modelled division level WFJ Group

£709 million 19,200 Share of Total Division

Employees

91.01: Library and archive activities 91.02: Museum activities

Modelled Creative Modelled GVA (£m) Creative WFJ

6,600

35.9%

254

6,900

9,000

48.9%

347

9,400

Step 4: Calculation of the total GVA through the creative industries Using the specific 4 digit SIC07 groups contained within the Creative Industry Groups outlined in Table A1, the total GVA of the creative industries for London can be calculated, and is shown in the table below: Creative Industries Group Advertising and marketing Architecture Crafts Design: product, graphic and fashion design Film, TV, video, radio and photography IT, software and computer services Publishing Museums, galleries and libraries Music, performing and visual arts TOTAL

GVA (£ million) 3,631 1,349 159 947 8,633 10,777 5,341 601 3,163 34,601

It is therefore estimated that the creative industries in London were worth £34.6 billion in GVA in 2012.

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The creative industries in London Working Paper 70

Derivation of the GVA per workforce job in the creative industries in London One additional modelling step has to be undertaken in order to derive the estimate of GVA per workforce job for the creative industries (and its component groups). GLA Economics Working Paper 63 stated the expressed aim that only the proportion of published GVA directly attributable to the workforce should be used towards the calculations of GVA per workforce job.

Within each of the individual components of published GVA, some will be relevant activities of the workforce and, arguably, some will not. The latter primarily relates to rental incomes. For the analysis that follows, the modelled creative GVA for each 4 digit SIC07 group is multiplied by the proportion of published GVA attributable to the workforce, for the 1 digit SIC07 section in which the group resides in. The following table outlines the proportions of published GVA attributable to the workforce for London, and states the 4 digit SIC07 groups which relate to each section.

Section

Creative industry 4 digit SIC07 groups

C: Manufacturing

32.12

Proportion of GVA attributable to the workforce 99.5%

M: Professional, scientific and technical activities

58.11-58.29; 59.11-59.20; 60.1060.20; 62.01-62.02 70.21, 71.11; 73.11-73.12; 74.1074.30

P: Education

85.52

99.9%

90.01-90.04; 91.01-91.02

99.4%

J: Information and Communication

R: Arts, entertainment and recreation Source: GLA Economics calculations

99.0% 99.5%

With these proportions, data on attributable GVA by 4 digit SIC07 group can be calculated; and combined with data on modelled WFJ, the estimates of GVA per workforce job by creative industry group are shown in the table below: Creative Industry Group

Attributable GVA (£m)

GVA per workforce job

Modelled WFJ

Advertising and marketing

3,614

66,000

£54,773

Architecture

1,343

26,900

£49,924

Crafts

158

2,600

£61,799

Design: product, graphic and fashion design

943

22,200

£42,375

8,552

101,300

£84,392

10,674

113,700

£93,914

5,290

59,000

£89,669

597

16,200

£36,754

3,142

74,500

£42,171

34,313

482,400

£71,126

Film, TV, video, radio and photography IT, software and computer services Publishing Museums, galleries and libraries Music, performing and visual arts TOTAL

Source: GLA Economics calculations; unrounded data have been used towards the derivation of GVA, workforce jobs; and hence GVA per workforce job. Other data presented in this appendix are presented as rounded values.

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The creative industries in London Working Paper 70

It is therefore estimated that the GVA per workforce job in the creative industries stood at £71,100 in 2012; which compares to an average GVA per workforce job across all sectors in London of £56,700, therefore approximately 25 per cent higher than the all sector average.

Calculation of GVA and GVA per workforce job in the creative industries for the UK A similar method can be used to calculate the total GVA and GVA per workforce job for the UK as a whole, however fewer modelling steps are required since more data are publicly available, specifically on GVA by division (drawn from the ONS National Accounts). Since workforce jobs data are not available at the 2 digit SIC07 division level for the UK, published data from BRES and APS on employee and self-employed jobs by division have been combined to derive an estimate of workforce jobs for each division 43. Table A3 provides the data on 2 digit SIC07 division GVA for each component division contained within the creative industries and the estimate of workforce jobs.

Table A3: GVA and workforce jobs for divisions relating to creative industries, UK Division

GVA (£m)

Estimated workforce jobs

32: Other manufacturing

4,449

108,000

58: Publishing activities

11,361

192,000

59: Motion picture, video and television programme production, sound recording and music publishing activities

8,507

130,000

60: Programming and broadcasting activities

4,284

43,000

38,064

607,000

16,633

644,000

23,238

495,000

73: Advertising and market research

8,863

195,000

74: Other professional, scientific and technical activities

8,202

274,000

98,738

2,767,000

90: Creative, arts and entertainment activities

3,306

197,000

91: Libraries, archives, museums and other cultural activities

3,283

108,000

62: Computer programming, consultancy and related activities 70: Activities of head offices; management consultancy activities 71: Architectural and engineering activities; technical testing and analysis

85: Education

Source: Quarterly National Accounts, Business Register and Employment Survey, Annual Population Survey, all Office for National Statistics; GLA Economics calculations. Estimated workforce jobs are rounded to the nearest thousand.

43

On top of employee and self-employed jobs, workforce jobs also include government supported trainees and HM forces.

However, employee jobs plus self-employed jobs account for over 99 per cent of total workforce jobs; therefore for simplicity, workforce jobs has been assumed to equal employee jobs plus self-employed jobs.

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The creative industries in London Working Paper 70

Step 2: Using BRES data to apportion out division level GVA and workforce jobs Within each of the industries defined as creative, BRES data has been used to determine the proportion of total division level employees that are comprised by the specific 4 digit SIC07 groups.

Division 32: Other manufacturing Division level GVA Estimated division level WFJ

Group

£4,449 million 108,000

Share of Total Division

Employees

32.12: Manufacture of jewellery and related articles

6,500

7.3%

Modelled Creative Modelled GVA (£m) Creative WFJ 325

7,900

Division 58: Publishing activities Division level GVA Estimated division level WFJ Group 58.11: Book publishing 58.12: Publishing of directories and mailing lists 58.13: Publishing of newspapers 58.14: Publishing of journals and periodicals 58.19: Other publishing activities 58.21: Publishing of computer games 58.29 Other software publishing

GLA Economics

£11,361 million 192,000 Share of Total Division

Employees

Modelled Creative Modelled GVA (£m) Creative WFJ

27,500

17.8%

2,019

34,000

900

0.6%

66

1,100

50,600

32.7%

3,715

62,600

44,100

28.5%

3,238

54,600

19,300

12.5%

1,420

23,900

1,400

0.9%

105

1,800

10,900

7.0%

797

13,400

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The creative industries in London Working Paper 70

Division 59: Motion picture, video and television programme production, sound recording and music publishing activities Division level GVA Estimated division level WFJ Group

£8,507 million 130,000 Share of Total Division

Employees

59.11: Motion picture, video and television programme production activities 59.12: Motion picture, video and television programme post-production 59.13: Motion picture, video and television programme distribution 59.14: Motion picture projection activities 59.20: Sound recording and music publishing activities

Modelled Creative Modelled GVA (£m) Creative WFJ

47,600

54.3%

4,617

70,400

11,100

12.6%

1,074

16,400

3,700

4.2%

358

5,500

18,500

21.1%

1,794

27,400

6,900

7.8%

664

10,100

Division 60: Programming and broadcasting activities Division level GVA Estimated division level WFJ Group

£4,284 million 43,000 Share of Total Division

Employees

Modelled Creative Modelled GVA (£m) Creative WFJ

60.10: Radio broadcasting

10,700

29.3%

1,255

12,700

60.20: Television programming and broadcasting activities

25,800

70.7%

3,029

30,600

Division 62: Computer programming, consultancy and related activities Division level GVA Estimated division level WFJ Group 62.01: Computer programming activities 62.02: Computer consultancy activities

GLA Economics

£38,064 million 607,000 Employees

Share of Total Division

Modelled Creative Modelled GVA (£m) Creative WFJ

117,700

23.5%

8,929

142,300

268,500

53.5%

20,364

324,600

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The creative industries in London Working Paper 70

Division 70: Activities of head offices; management consultancy activities Division level GVA Estimated division level WFJ Group

£16,633 million 644,000 Share of Total Division

Employees

70.21: Public relations and communication activities

15,900

Modelled Creative Modelled GVA (£m) Creative WFJ

2.8%

471

18,300

Division 71: Architectural and engineering activities; technical testing and analysis Division level GVA Estimated division level WFJ Group

£23,238 million 495,000 Employees

71.11: Architectural activities

Share of Total Modelled Creative Modelled Division GVA (£m) Creative WFJ 58,200 14.2% 3,302 70,300

Division 73: Advertising and market research Division level GVA Estimated division level WFJ Group

£8,863 million 195,000 Employees

73.11: Advertising agencies 73.12: Media representation

Share of Total Modelled Creative Modelled Division GVA (£m) Creative WFJ 94,400 58.5% 5,184 113,900 17,700 11.0% 973 21,400

Division 74: Other professional, scientific and technical activities Division level GVA Estimated division level WFJ Group

£8,202 million 274,000 Share of Total Division

Employees

74.10: Specialised design activities 74.20: Photographic activities 74.30: Translation and interpretation activities

Modelled Creative Modelled GVA (£m) Creative WFJ

41,700

27.7%

2,271

75,900

16,200

10.8%

884

29,600

2,900

1.9%

157

5,300

Division 85: Education Division level GVA Estimated division level WFJ Group 85.52: Cultural education

GLA Economics

£98,738 million 2,767,000 Employees

Share of Total Modelled Creative Modelled Division GVA (£m) Creative WFJ 5,300 0.2% 204 5,700

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The creative industries in London Working Paper 70

Division 90: Creative, arts and entertainment activities Division level GVA Estimated division level WFJ Group

£3,306 million 197,000 Share of Total Division

Employees

90.01: Performing arts

Modelled Creative Modelled GVA (£m) Creative WFJ

36,900

48.0%

1,588

94,400

5,200

6.8%

225

13,400

90.03: Artistic creation

23,000

30.0%

991

58,900

90.04: Operation of arts facilities

11,700

15.2%

503

29,900

90.02: Support activities to performing arts

Division 91: Libraries, archives, museums and other cultural activities Division level GVA Estimated division level WFJ Group

£3,283 million 108,000 Share of Total Division

Employees

Modelled Creative Modelled GVA (£m) Creative WFJ

91.01: Library and archive activities

38,400

39.4%

1,293

42,600

91.02: Museum activities

27,300

28.0%

921

30,400

Step 3: Calculation of the total GVA through the creative industries Using the specific 4 digit SIC07 groups contained within the Creative Industry Groups outlined in Table A1, the total GVA of the creative industries for the UK can be calculated, and is shown in the table below: Creative Industries Group Advertising and marketing Architecture Crafts Design: product, graphic and fashion design Film, TV, video, radio and photography IT, software and computer services Publishing Museums, galleries and libraries Music, performing and visual arts TOTAL

GVA (£ million) 6,628 3,302 325 2,271 13,011 30,195 10,616 2,214 4,175 72,737

It is therefore estimated that the creative industries in UK are worth £72.8 billion in GVA in 2012.

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The creative industries in London Working Paper 70

Derivation of the GVA per workforce job in the creative industries in the UK Similar as for the calculation of GVA per workforce job for London, the following table outlines the proportions of published GVA attributable to the workforce, for the UK as a whole, and states the 4 digit SIC07 groups which relate to each section.

Section

Creative industry 4 digit SIC07 groups

C: Manufacturing

32.12

Proportion of GVA attributable to the workforce 99.6%

M: Professional, scientific and technical activities

58.11-58.29; 59.11-59.20; 60.1060.20; 62.01-62.02 70.21, 71.11; 73.11-73.12; 74.1074.30

P: Education

85.52

99.9%

90.01-90.04; 91.01-91.02

99.4%

J: Information and Communication

R: Arts, entertainment and recreation Source: GLA Economics calculations

99.1% 99.5%

With these proportions, data on attributable GVA by 4 digit SIC07 group can be calculated; and combined with data on modelled WFJ, the estimates of GVA per workforce job by creative industry group are shown in the table below: Creative Industry Group

Attributable GVA (£m)

Modelled WFJ

GVA per workforce job

Advertising and marketing

6,595

153,500

£42,953

Architecture

3,285

70,300

£46,710

325

7,900

£41,290

Crafts Design: product, graphic and fashion design Film, TV, video, radio and photography IT, software and computer services

2,260

75,900

£29,757

12,893

192,400

£66,998

29,912

482,100

£62,040

Publishing

10,517

181,600

£57,930

2,201

73,000

£30,148

4,149

212,400

£19,536

72,137

1,449,200

£49,778

Museums, galleries and libraries Music, performing and visual arts TOTAL

Source: GLA Economics calculations; unrounded data have been used towards the derivation of GVA, workforce jobs; and hence GVA per workforce job. Other data presented in this appendix are presented as rounded values.

It is therefore estimated that the GVA per workforce job in the creative industries in the UK stood at £49,800 in 2012; which compares to an average GVA per workforce job across all sectors for the UK as a whole of £41,100, approximately 21 per cent higher than the all sector average.

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The creative industries in London Working Paper 70

Comparisons between London and the UK The modelling undertaken suggests that London comprised almost half of the total output of the creative industries in the UK in 2012 (however varies between individual creative industry groups); and is outlined in further detail in the following table: Creative Industry Group

Proportion of total UK; London (%)

Total GVA, London (£m) Total GVA, UK, (£m)

Advertising and marketing

3,631

6,628

54.8

Architecture

1,349

3,302

40.9

159

325

48.9

947

2,271

41.7

8,633

13,011

66.4

10,777

30,195

35.7

5,341

10,616

50.3

601

2,214

27.1

3,163

4,175

75.8

34,601

72,737

47.6

Crafts Design: product, graphic and fashion design Film, TV, video, radio and photography IT, software and computer services Publishing Museums, galleries and libraries Music, performing and visual arts TOTAL

In addition, data on GVA per workforce job shows significant differences between London and the UK for the creative industries (and each of the component industry groups).

Creative Industry Group

GVA per workforce job, London

GVA per workforce job, UK

Percentage difference, London compared to UK (%)

Advertising and marketing

£54,773

£42,953

+28

Architecture

£49,924

£46,710

+7

Crafts

£61,799

£41,290

+50

£42,375

£29,757

+42

£84,392

£66,998

+26

£93,914

£62,040

+51

£89,669

£57,930

+55

£36,754

£30,148

+22

£42,171

£19,536

+116

£71,126

£49,778

+42.9

Design: product, graphic and fashion design Film, TV, video, radio and photography IT, software and computer services Publishing Museums, galleries and libraries Music, performing and visual arts TOTAL

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The creative industries in London Working Paper 70

The analysis shows that the difference in the GVA per workforce job in the Creative Industries between London and the UK stands at 43 per cent; which compares to 38 per cent for the average across all sectors in 2012.

Comparison of methods used to calculate the economic impact of the creative industries In order to provide context to the London estimate of the economic impact of the creative industries, a similar method, based on a top-down approach using the National and Regional Accounts was used to derive the estimates of the GVA for both London and the UK as a whole.

However, the method used by DCMS in calculating the economic impact of the creative industries for the UK as a whole is based upon the use of the Annual Business Survey from the ONS. At the regional level, data from the ABS is less robust and are not available at levels lower than 2 digit SIC07 divisions, so a different method had to be used.

The following table outlines the differences in estimates of GVA for the creative industries as a whole, and for each individual creative industries group; between the method used in this paper, and that using the Annual Business Survey.

GLA Economics method DCMS method, (ÂŁm) (ÂŁm) Advertising and marketing 6,628 9,339 Architecture 3,302 3,497 Crafts 325 248 Design: product, graphic and fashion design 2,271 2,500 Film, TV, video, radio and photography 13,011 9,821 IT, software and computer services 30,195 30,552 Publishing 10,616 9,624 Museums, galleries and libraries 2,214 -150 Music, performing and visual arts 4,175 4,581 TOTAL 72,737 70,012 Source: GLA Economics calculations; based upon National Accounts and Annual Business Survey, Office for National Statistics.

Creative Industry Group

The table shows that although the difference between the two methods is less than 4 per cent for the creative industries as a whole, there are quite significant differences within individual groups of the creative industries; most notably seen in that of museums, galleries and libraries; where the method based on the use of the Annual Business Survey are likely to underestimate the value of the sector (a point recognised by DCMS in their publication as an area for potential future development). There are also other groups where there are differences of greater than 25 per cent; such as in advertising and marketing; crafts; and film, TV, video, radio and photography.

GLA Economics

77

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